Tip Aifd, here we come

Thank you Ricky for offering to do this...It is great motivation to take pics...
I have been taking the extra time to relook at my work once it is done and try to catch any mistakes I regularly make so I am aware of my weaknesses and can concentrate on not making those mistakes at the PFDE...but it helps and awful lot for a set of unbiases eyes to look and see if there are small but critical things that could mean the difference between a so-so design and a definate winner...

I have discovered something quite amazing. When I look at a finished design, I see nothing wrong with it. I take a digital photo for my album and the minute I open the photo, I see a problem. I look at the design again live and BINGO. The photo was right. But I didn't see it myself until I looked at the photo. WHY IS THAT???? :)
 
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One of the best things about a job I had long ago was that my boss was really good friends with Malek and Yousef Karsh. Once in a while, one of them would stop by, and take photos of our work, as a favour to Gerry. Wow, how lucky was I!!!
Mr Karsh explained it to me like this.
A camera does not see things in 3 dimensions. Because of that, each feature of the 2 dimensional image is amost magnified....with their being less to see, it becomes easier to see. He suggested that I take polaroid shots of any peice designed for print, before submitting my choice. That's how he did it when doing portrait work, and how Malek did it for his landscape work. Of course, this was long before digital cameras.
Thankfully, I saved a few images from those days, signed by Karsh. They are a real treasured reminder of a truly great artist and friend.
JP
 
help with armatures

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Ok, I have decided that to test next year I really need to conquer more design ideas outside my comfort zone and become proficient in them...This is my first ever armeture design...it is hard to see in the picture but ther is curley willow laid across the top and the flowers are woven into the container...I don't think it came out half bad but it needs a lot of work I am going to attach a picture of something that I had in mind when I started but quickly realized I do not know how to get the armeture correct for it...I need armeture help...my curley willow skills seem a bit messy all the time, maybe I should go with that flow and forget about really intricate detailed wire work, but I think that is what wins competitions and gets creativity points and that is what is missing in my scores...don't be easy on me, this is not something that I have ever attempted and I know it is far from perfect and needs help so fire away...
 
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Here is the picture of the armature that I was picturing in my head...I just don't know how it was done and mine just ends up looking messy right from the start, if your mechanics are messy the arrangement just wont get neat looking all by itself...
 

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Okay, Lori.

I see that the sample you are showing is from Boston, (I still see those colors in my sleep! lol)

Number one, that sample is not in water, so the manipulation is much easier to do - not that the example was easy, but it's much easier to do something when you don't have to worry about it holding up.

Did you make your armature first and then lay it across the vase before inserting flowers?

There are a few issues that I see.

1.) Because the rest of your design is so tailored, I would say that your armature should mimic that, there is nothing wrong with trimming and pruning to shape things the way you want them.

2.) It looks like there are hydrangea blossoms in your water, and it also appears that your flower stems are going to be out of water too quickly because they are so short.

3.) A few loops of lily grass sheltering the center of your focal area would have given an extra dimension of interest, that would bring you up quite a bit on creativity.

Overall a beautiful centerpiece!
 
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First of all Lori - Don't feel bad......I too have trouble with armatures - not designing in them......but creating the actual armature itself.

Looking though at your design..........at least in the photos......the armature itself is barely visible. I would say that in a good 90 percent or better of armature arrangements I have seen, the armature itself is a very visual part of the design. Also, most florals I've seen used with armatures are very flexible, curvilinear stems, like french tulips, callas, gerbera, - clean stem flowers devoid of foliage on the stems.

In learning how to manipulate flowers in an armature........I would suggest beginning with premade armatures - either wire, twig, branch, etc. and then progress from there.
 
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I think I need to find someone around me that likes making them and get a lesson....Ricky, you are right The armature should have been much more prominent...I tend to have that problem, I tend to want to fill up the space then I lose the intricacies intended oin such a design, this is my retail training coming out...This was an actual arrangement for a customer so i was under pressure to make something saleable, maybe I should make something for myself and just get super creative and not care if it is saleable or not, the added pressure I am sure is not helping...Thanks for your comments linda and Ricky both..
 
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Contact Ardith Beveridge AIFD at Koehler-Dram - If I am not off base, she has an armature videotape/DVD out.
 
I got the phone number off the school webpage...Thanks for the info!!!
 
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Ok, I have decided that to test next year I really need to conquer more design ideas outside my comfort zone and become proficient in them...This is my first ever armeture design...it is hard to see in the picture but ther is curley willow laid across the top and the flowers are woven into the container...I don't think it came out half bad but it needs a lot of work I am going to attach a picture of something that I had in mind when I started but quickly realized I do not know how to get the armeture correct for it...I need armeture help...my curley willow skills seem a bit messy all the time, maybe I should go with that flow and forget about really intricate detailed wire work, but I think that is what wins competitions and gets creativity points and that is what is missing in my scores...don't be easy on me, this is not something that I have ever attempted and I know it is far from perfect and needs help so fire away...

Hi Lori,
I see that you have lots of feedback about your armature adventure, but for what it's worth, I'll add a few thoughts of my own to the mix.

First of all, I think your idea of learning how to make, and use armatures is a great idea for you. You are really creative, and learning how to work with this new medium will open a whole new world for you; one that should result in endless new possibilities.

My first thoughts when looking at your arrangement, and the photo of the armature you used for inspiration, were whether or not you really understood what an armature is all about. I say this because in both your inspiration photo, and in your arrangement photos, the armature is barely visible.

An armature is basically a physical structure which can support floral material in creative and unexpected way. It can be something that already exists, (ie a tomato cage, or a grape vine ball, or a willow trellis,) or something that you create yourself in a variety of forms. Typically, it is an integral part of the design, and can help add movement depth and rhythm to a design. In and of itself, it is not a style of design.

If your goal is to learn how to use an armature as the jumping off point for new design styles, you need to learn how to make an armature first, without incorporating any flowers. The flowers come later.

Once you have mastered how to make different types of armatures, you will be ready to begin incorporating them into designs.
So, in my opinion, you need to leave the flowers behind for a minute and concentrate on learning how to make an armature, and then, what to do with it once you have made it.

Assuming you agree with my step by step process, I advise that you begin with "How to make armatures 101".

The best way to begin is to learn the "Ladder" armature first. It is the easiest, because it resembles something we all know and understand, and it can be used in a million different ways once completed. Ideally, you will be able to do this free hand, but to begin, it's easy if you use a brick of oasis to stablize your efforts.
Begin with 4 straight sticks, 30 inches long, and 5 straight sticks, each 12 inches long. ( skinny bamboo, rivercane, birch braches, or whatever.) Insert the 4 30 inch sticks into a brick of oasis in a vertical row 2.5 inches apart. Now take the first 12 inch stick, and tie it, horizontally, to the 4 vertical stems, about 3 inches from the top. Some people use raffia for this, but paper covered wire is easier, especially for the beginner. Make sure your ties are tight, really tight.
Now, take the 2nd 12 inch stick and tie it horizontally, about 3 inches from the bottom, using paper covered wire, or raffia, or whatever. Once those two cross bars are in place, you should have a pretty strong and stable base. Next, add the 3 remaining 12 inch horizontal sticks, leaving 2 or 3 inches between each horizontal placement. Once you have all your sticks tied to one another, remove it from the oasis. It should not weave or twist very much ( a bit is normal ) and Presto! you have made your first armature!

All armatures are built on the same premise...a bunch of branches or sticks tied together in different forms, sometimes 2 dimensional, like the basic ladder armature, but often three dimensional, like an orb or a ball.

Once you get used to the idea of creating an armature, it is time for you to start thinking about using it as a structural base for floral arrangements.

When you are using the armature, the goal is not to cover it completely, but rather, to use it as a support for your flowers, while leaving it exposed. The ultimate application of an armature is the ability to use fewer materials to create exciting designs... Ideally, it is used with material that can bend and weave through and around, so that the intricate consturuction details of the armature can be appreciated.

So, long and short, is this.
Practice making the armatures until you can create a number of different structures with the specific intent of supporting flowers. Once you can do that with confidence, move along to using the armature to act as a support system for a minimal number of flowers. Remember that for most uses, either retail, or for judging, your flowers need access to a water source,
AIFD is not always about floral art. Sometimes it may be acceptable to do this this, but usually, the adjudicators will want to see that the flowers will last, and that means water! Don't get sucked in to thinking that because it's an AIFD exam, that beauty or creativity counts more than practicality. That is a myth.
Most AIFD members are also retailers...very few make their living from performance art, or books, travelling seminars, or one day displays.

Like everyone else, most AIFD members need to be able to sell their products to the general public by retail.....it's just that we are able to offer the consumers a more creative choice than the average floral designer out there. Use this opportunity for education to broaden your repertoire so that your shop can become the go to shop in your area....

Try again, and let me know how you get along...I know you can do this, it just takes some practice.

JP
 
Thanks Joanne...

You are very right the armature is the part that I have a hard time with...I do use armatures regularly in foam where I can steady the product then attach and wire where needed to form the structure...The type I want to learn how to make are the free floating ones that kind of sit on top of a vase to make a horizontal arrangement of sorts...I just am having a hard time manipulating the material and securing it to itself to make a true structure...I think the part about concentrating more on the structures is true, once I get the structure down then the flowers will come natural...my twig structure on this arrangement was very weak and flimsy, I was not happy with it one bit, the person who recieved it loved it and good thing because over the last 6 days I have sent her 6 arrangements, and she loves different so they all needed to be not you average vase arrangements...so I am happy there...I think I will take your advice and try to work on just the twiggy part and maybe I will start with something more stable like bamboo istead of curley, the messiness of the curley already feeds the messiness of me and my inpatience to tame it...If I start with something cleaner and more linear I think I may be able to sharpen up my mechanics better then move onto wire and curley..I do have a very hard time with wire and making it look clean and precise also, it more a patience thing and not a creative thing, it just takes longer than I want it to to manipulate...

Thanks I appreciate all the input...even more if possible..
 
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I was intrigued by this portion of the thread about armatures, so I decided to try to make one of my own. Fortunately, I have a curly willow growing outside my shop. I used a piece of buillion I found in my drawer for binding. I studied the branches and wiggled and squshed the willow to get the shape I wanted and then used the bouilion to bind and maintain the shape by wrapping. I used old flowers about to be thrown away to make the arrangement and I know my binding technique needs work. It took time and I would recommend making a few without a deadline. Armatures have never been my favorite thing, because it's is time consuming and hard to throw one together without practice.

P.S. My photography skills are terrible.
 

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Susan, I think you did a pretty good job! I love what you did with the lily grass.
Yep, your binding needs some work, it is a bit messy, but the idea is there. Binding takes patience...not my forte, but it's important to practice, because the binding on an armature becomes an integral part of the design.
I understand why you chose your materials, but next time, remember to show off the most labour intensive part of your design...and the way to do that is to use less material. Additionaly, remember that the floral material you choose to use should have long, flexible stems, or such fine stems that, when incorporated into the design, allow the beauty of the armature to shine. (ie: tulips, callas, hanging amaranthus, sweet pea, gloriosa lilies, etc.) Often, in Eurpean design, individual flowers are woven through the armature, and have a water tube as the water source....but even then the blossoms are delicate enough to showcase the armature as an important part of the design. Otherwise it simply becomes a different type of arranging medium.
Good work!
JP
 
Thank you for the comments Joanne, I really appreciate them.

Susan, I think you did a pretty good job! I love what you did with the lily grass.
Yep, your binding needs some work, it is a bit messy, but the idea is there. Binding takes patience...not my forte, but it's important to practice, because the binding on an armature becomes an integral part of the design.
I understand why you chose your materials, but next time, remember to show off the most labour intensive part of your design...and the way to do that is to use less material. Additionaly, remember that the floral material you choose to use should have long, flexible stems, or such fine stems that, when incorporated into the design, allow the beauty of the armature to shine. (ie: tulips, callas, hanging amaranthus, sweet pea, gloriosa lilies, etc.) Often, in Eurpean design, individual flowers are woven through the armature, and have a water tube as the water source....but even then the blossoms are delicate enough to showcase the armature as an important part of the design. Otherwise it simply becomes a different type of arranging medium.
Good work!
JP