Easy Ways with Dried Flowers: Stunning Displays with Practical Advice 1854701509, 9781854701503

Citation preview

_ ♦y’.

% -

y

Bpsf^5|r-r"%fe»

IH^

-IV / . SL-

S^n

£ JMjjL

ijmSw

f2i43^pr ..V y%f

y-y

7 BE' AuJ

< -

. ,f

y ^

||f^'

• ** v

l&J},.

, /( i>

u

:*JK •' j£S' 'jm

'

^F^P^Sc*.Jit

r gr ,,j

/ //

EASY WAYS WITH

DRIED * LOWERS STUNNING DISPLAYS TH PRACTICAL ADVICE AMELIA SAINT GEORGE

Too frequently, by picking a fresh flower you end its life but, by mastering the art of drying and preserving flowers, you can retain the pleasure of the summer sun, a radiant autumn or a blustery winter. Each season offers a succession of flowers, nuts and seeds, and there is immense pleasure to be gained by experimenting with combinations of colours, shapes and textures in order to create an individual and everlasting arrangement. Illustrated throughout in full colour and using simple, easy-to-follow techniques, Easy Ways with Dried Flowers demon¬ strates the secrets of effective presentation. With her very personal, yet highly practical approach to this art, Amelia Saint George brings alive the magic of arranging dried flowers in combination with fruits, nuts, cones, grasses, seeds, candles, shells and much, much more. By following her basic methods, and with a minimum of equipment, anyone can achieve exciting and individual results, whether in basic arrangements or in surprisingly simple wired structures. She will provide the confidence for readers to experiment with and create their own decorations to match any occasion.

f

'r

f

V' «

Digitized by the Internet Archive in 2018 with funding from Kahle/Austin Foundation

https://archive.org/details/easywayswithdrie0000sain_b9c8

EASY WAYS WITH

DRIED FLOWERS

*2^ *** -> „ .

-'afe.

IP!* $*43|

jjfffiftaapp* -Atfg/■

t

EASY WAYS WITH

DRIED FLOWERS AMELIA SAINT GEORGE

ANAYA M PUBLISHERS LTD ■■

To Alex

First published in Great Britain in 1992 by Anaya Publishers Ltd Strode House, 44-50 Osnaburgh Street, London NW1 3ND Reprinted 1993 Text copyright © Amelia Saint George 1992 Photography copyright © Anaya Publishers 1992 Illustration copyright © Kevin Hart 1992

Editor Art Director Photography Design Assistant Painted Backgrounds Illustration

Coral Walker Jane Forster Patrice de Villiers Sarah Willis Kathy Fillion Richie Kevin Hart

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of the copyright holder. British Library Cataloguing in Publication Data Saint George, Amelia Easy Ways with Dried Flowers (Easy Ways Series) I. Title II. Series 745.92 ISBN 1-85470-150-9

Typeset by Bookworm Typesetting, Manchester Colour reproduction by J. Film Process, Bangkok Printed and bound in Hong Kong

Do n t e n t s Introduction

8

PLANTING IN ROWS 10 Rose baskets Lavender basket Herb and spice garden

12 16 18

TOPIARY TREES 20 Sweetheart tree Pastel tree Egg tree Teasel tree

22 24 26 29

WREATHS & GARLANDS 30 Summer splendour garland Herb wreath Celebration garland Kiss of autumn wreath

32 36 38 42

SWAGS & PENDANTS 44 Festive table swag 46 Summer swag and pendant 50 Harvest festival drop 54

*

'7'7#?'

a

FREEFORMS 56 Lavender urn Summer flower basket Kitchen basket with bread Roses cast in bronze Golden sconce

58 60 62 65 66

A

68

™

Autumn sheaves

MINIATURES, GIFTS & ORNAMENTS 72 Miniature baskets Parcels with a difference Hair garlands Glistening nuts and cones Garlanded pot pourri Clove and rose pomanders Decorated hats Creative candles Pretty parcels

74 77 80

98

|H

Tools & Equipment Techniques Drying and preserving Plants to Preserve Yourself Construction Techniques

102 106

1

Seasonal Plants Plant Directory Index

84 86 90 92 96

112

■ O

114 120 122 pi

>

V'*

4 W-

,

ml

UN

I nJj_odj£C_Cj_o_n The wonderful variety of colours, tones,

I have also encouraged gathering your

textures and shapes dried flowers offer is

own materials for preservation. Country

truly inspirational. Yet the most exciting displays can be created using the simplest

walks, visits to the beach, windfalls from city parks, or even your own garden can be

of techniques.

a rich source of material. Wherever you

In this book, I have endeavoured to reveal some of the mysteries of dried flower style and inspire those interested in this pastime to attempt really ambitious

live there is always some treat to be gathered and saved for later. It is also challenging and fun to experiment. Do not be restricted to

projects and achieve the most spectacular

traditional materials. I have used eggs,

results with ease.

fungii, nuts, bread, beads, natural burr

Dried flowers are extraordinarily

and bramble, herbs and spices as well as

flexible, with few of the constraints of

more popular ingredients. You can add to

their fresh counterparts. For this reason,

the list: shells, stones, driftwood, seeds

they can be treated in a completely different way. You can hang them upside

and berries, just for example.

down, weave them in your hair, or tie

techniques for drying and preserving

them around parcels.

flowers based upon my own experience

Each display in this book, whether grand or humble, is beautifully photographed and clearly explained.

I have also explained various

and mistakes! Do not be daunted by the prospect that this is a highly scientific process, as often the simplest way to dry

Where necessary, illustrations are

most flowers is to tie them in bunches and

provided to help you understand a more

hang them upside down in your spare

intricate technique. However, my approach is often a little

room! I hope this book will stimulate your

unorthodox, and I encourage cheating

imagination and act as an inspirational

where possible! Glue and sticky tape are

tool. I also hope you will be encouraged to

great allies and make assembling materials

copy, adapt or move on further and create

considerably easier.

your own unique displays.

PLANTING IN ROWS One wonderful advantage of dried floral material is its ability to become virtually an abstract art form in its own right, enabling those with a keen eye to exploit this for visual excitement. In this chapter I have looked at using the keener angles of various floral materials: the upright stems, the sharp edges of cut spices and herbs, or even the straight lines of the container, and exploiting these to the full. All use rows of similarly'Sized materials, planted in military precision. I have created both the avant garde and the more traditional using this technique. I think you will agree that the effects of these displays is stunning; yet the skills to create them is minimal. Use the ideas on the following pages to inspire you to try others.

12

PLANTING IN ROWS

The radiant beauty and vibrant colours of

Place the next rose against the first,

the rose, when in the fullness of life, give

always applying pressure to the base of the

way to more subtle tones and textures

stem when inserting it into the foam. (Never push from the bud end or the stem

when dried. Compact buds and blooms; fat, burgeoning rose hips; fragrant petals evoking the bouquet of summer days for

might snap.) Continue using your curved-stemmed

winter nights - at every stage in its de¬

roses, planting evenly from the centre

velopment, the delightful rose is a perfect

outwards. Strip off undamaged leaves as

Tall and elegant, these

choice for preservation.

you go, so the arrangement does not

salmon-coloured rose heads

Dried roses are easy to arrange, provid¬ ing the display is well-structured,

and

planting in rows or clusters is an ideal

become too bulky. These pieces of foliage

sit proudly aloft their dense

can be used later to fill in any gaps.

green leaves in a natural twig basket. Planting them in

Having used all your curved-stemmed roses, continue working outwards to the

starting point.

rows like this creates

edge of the basket using the straight¬

interesting straight lines and

Lavender Basket and the Herb and Spice

stemmed flowers. The straight stems will

sharp angles, not usually

garden later in this chapter, you will be

conceal the curved ones. Tuck a few

associated with flowers.

able to combine orderly precision with

pieces of foliage upright in any empty

Here, the straight stems are

charm and style.

looking spots and tie a piece of thread

echoed by the vertical lines of

With these

three rose designs,

the

around the stems to mark the position of

the basket. The whole effect

TALL STANDING ROSES

the ribbon. Cut a generous length of

Gather together 60-80 beautiful roses - I

ribbon and tie it in a relaxed, floppy bow

is softened by gauzy ribbon which also complements the

have used ‘Gerdo’ - and a plain, round basket for the simplest of all

to cover the thread.

lovely colours of the blooms.

arrangements. Have to hand floral foam, thread and sharp scissors. Wide gauzy, chiffon ribbon in two pastel shades will complete the display. Begin by cutting a piece of floral foam to fit snugly inside your basket. Sort your roses into two piles: one with straight stems and the other with curved stems. Strip off any damaged leaves. To retain a flat, tailored -look to the roses, elevate your arrangement to eye level. When possible, I sit while arranging, so put my basket on several large books or telephone directories. Take one curved-stemmed rose and plant it into the centre of the foam. This will govern the height of your arrangement, so check that none of your remaining roses is too short. You may need to trim the original. Each rose wi 11 need to stand to the same height, so you may need to trim some stems, as you work.

PLANTING IN ROWS

13

14

PLANTING IN ROWS

ROSE HEARTS

Do remember always to push your rose

Once again, 1 allowed the design of my

into the foam from the base of the stem, to

container to guide me. This charming

avoid any possibility of it breaking.

heart-shaped basket, woven from vines,

Keep the roses close together so that

lent itself perfectly to this technique of

the heads look tightly packed. It does

planting in rows.

mean that even for small baskets such as this, you will still need a lot of blooms for

Floral foam, roses and sharp scissors were

the design to work well and create a sense

all that I needed to gather together before I began. I used the rich scarlet ‘Mercedes’

of density.

variety of rose.

exploit the lovely container, I planted the

I packed each heart-shape with floral

right hand heart, I trimmed the roses to

curved-stemmed roses in the centre of the

sit into the basket, with just their heads

middle heart, working outwards and

peeping over the rim; for the left hand

finishing towards the rim with the

heart, the roses sat tall and proud.

that I planted the larger display. Work the outside heart-shapes, once the middle one is complete. Adapt the technique of container. This unusual triple heart basket worked well when planted in tiers with scarlet roses. The dense, dark green foliage is vital to achieve a good effect. Fill in any gaps with scraps of foliage you have already stripped off other stems.

sections at three different heights. For the

foam and began planting my roses, using

straighter stems, in exactly the same way

planting in rows to any

To add interest to this display, and to

Although you may not be able to find a container exactly like this one, there are many similar designs available, and often very inexpensive to purchase.

PLANTING IN ROWS

PETAL PALISADE The vertical lines of this elegant wire basket create a perfect setting for these

15

Continue working the sides in the same way, but do not overlap the stems. Once the basket is lined with glorious

‘Ilseta’ roses. I have used about 180 flower

blooms, fill to the brim with rose petals

heads; obviously you can achieve the same

and lavender heads. Lor economy, fill the

effect with a smaller basket and fewer

basket with natural fibre (available from

blooms. The basket is filled to the brim

garden centres) first before topping it up

with fragrant rose petals and lavender.

with petals and flower heads.

To begin, gather together the roses, petals and loose lavender. These last two items can either be bought ready-

Hearts and roses are

prepared, as for pot pourri, or you can

synonymous, so this lovely wire basket made in the

collect your own from damaged blooms and stems. You will also require a wire

shape of a heart, teas a perfect

basket, a glue gun and some plain or

foil for these pretty pink 'Ilseta’ roses. As the roses lie

lining paper. Line the base of the basket with paper,

horizontally, this design is an

then start to insert the roses into the slats

interesting variation on

of the wire basket. Work the corners first -

planting in rows. The Petal

from bottom to top - pushing the roses

Palisade uses flowers only to decorate the perimeter of the

into the slats, one at a time, overlapping the stems within the basket as shown.

basket; inside it is filled with

Glue each rose lightly to the wire and to

a pot pourri made from rose

the rose beneath.

petals and lavender.

To create a tight angle on a basket such as this, you will need to overlap each stem as you insert the roses. Dab a spot of glue on the basket and the rose beneath.

16

PLANTING IN ROWS

^aoj_e_in_de_r_ b_as_ke_t Lavender is perhaps one of the most popular flowers used for planting in rows. Upright stems and small flower heads gain in strength and substance when clustered together like this. Once again, the lines of the stems follow those of the basket beneath. A complementary bow in bright lavender-purple completes the display.

PLANTING IN ROWS

17

Aromatic, delicate and whimsical, this display captures the image of lavender fields in Provence rippling in the wind like purple waves. You will need a profusion of lavender for this design, but remember it is simple to dry yourself, if you are fortunate enough to he able to gather it locally. A simple basket, floral foam, scissors and a co-ordinating ribbon are the only other materials you will require. Tightly pack your chosen basket full of floral foam. As the lavender will stand right at the basket’s edge, ensure the foam fills the basket completely. As with the roses, sort your lavender into curved stems and straight stems, forming two piles. Cut the lavender stems to the same length using sharp scissors. As lavender is delicate there will be damaged flower heads; do not use them in the arrangement as they will spoil it. Instead, save these for a pot-pourri. Now begin planting the lavender, using the curved-stems first in the centre of the display, rather as you did for the tall standing roses. Work with the flower heads at eye level so you can keep the display as flat as possible. Use up the curved stems in the centre of the arrangement, progressing to the straighter stems for the outer edges. Plant right up to the basket’s edge. Once complete, place a purple ribbon gently around the display. A final little trick: spray the display with some firmhold hair spray: the lavender will shed less and last longer. POT POURRI Save damaged lavender to make a pot pourri. Rub the flower heads gently in your finger to remove them from their stems. This action will also release the lavender’s beautiful and distinct aroma.

18

PLANTING IN ROWS

cn~Pc r_b aj\_d s_p_i_c_e g_aj_de_n Musky cinnamon,

warm

nutmeg,

tart

Begin with the centre row - the fungus

chilli peppers and mellow bay leaves lay

- starting from the back of the basket and

side by side in neat rows divided by start-

working forwards. Overlap each piece of

ling fungal shapes. This is a stunning and

fungus very slightly and glue each one in

eye-catching

place, as you work. Progress forwards,

arrangement,

perfect

for

kitchen displays or those to accompany

allowing the last piece of fungus to gently

haute cuisine; and the sweet and sharp

lap over the front edge of the basket to

aromas make this an interesting alterna¬

neatly finish that row.

tive to pot pourri.

Next, using the depth of your basket as a guide, cut the cinnamon sticks with

A wide flat container is needed here,

sharp scissors, taking care they do not

along with a flat piece of floral foam, sharp

crumble. Push each piece upright into the

Another interesting variation

scissors and knife, and glue to secure some

foam on either side of the fungus.

on planting in rows, this

of the pieces in place. Line your container with foam, then experiment forming one row of the

Next to the cinnamon, glue the whole nutmegs into position. Now sort the bay leaves, disregarding

Herb and Spice Garden is a great conversational piece with its abstract shapes and

various ingredients, placing them along

those that are too large or small. Cut each

angular lines. Display it on a

the foam to judge the best positioning. For my container, I began with the

one carefully in half across the width, so

low window seat or ledge

they do not crack. Slip the leaves, pointed

where it can be viewed from

centre parting of golden mushroom and

ends down, snugly against one another,

worked outwards using cinnamon,

working from the back of the basket to the

some height to give it maximum impact. Almost

nutmeg, chillies in that order, with bay

front, to create miniature clipped hedges.

any plants or seeds can be

Finally, cut the chillies to fill in the

planted in this way, with

leaves along the outer edge. When you are happy with the position of one row, you

gaps between the bay and the nutmeg.

contrasting shapes and

can begin the arrangement in earnest.

Some may need to be glued into place.

textures lying side by side.

PLANTING IN ROWS

19

TOPIARY TREES The formal structures of the trees in this chapter make enduring and eye-catching arrangements. The more familiar trees with a trunk and flower-filled ‘mop head’ are here, but I have also demonstrated some cunning variations using teasels and eggs. The principal is to keep the ingredients to a minimum; use only one or two varieties for the main element and perhaps just one for filling out the sphere. I have explained how to create the more traditional tree, but I have also used a basic foam cone to form another tree shape. The latter concept could so easily be adapted for Christmas celebrations.

gag’s#!

22

TOPIARY TREES

, V w eetheart tree

TOPIARY TREES

Rich, ruby red ‘Mercedes’ roses and the natural shades of sea lavender (Limonium tataricum) create this luxurious and ro¬ mantic tree. The trunk is made up of three branches encrusted with lichen. Around this I have wound a writhing length of burr to create interest and movement.

23

All topiary trees such as this are made in the same way. You will need a container, some plaster of Paris, newspaper and a plastic bag to begin. Your trunk can be found on any woodland walk or from the prunings of your own garden. However, trunks are deceptively long, so measure yours out against the container first. Line the container with a little crumpled newspaper, then open out the plastic bag to accommodate the plaster. Mix the plaster of Paris according to the instructions on the packet and half fill the plastic bag. Take your pre-measured trunk and plunge it into the plaster, spooning the remaining mixture around the trunk base. Leave this to dry, checking it periodically, so that the trunk does not lean over too much. My plaster took only ten minutes to

become firm, but I then left it overnight to dry out completely. Some plaster expands on drying, so the crumpled newspaper will accommodate this. For the next step, you will need a large sphere of floral foam and glue gun. Push the foam down hard on to the trunk, gouging out some of the foam to allow a hollow for the trunk. When you are happy with the positioning, glue the foam on to the trunk, pushing it down firmly until the arrangement feels secure, as the foam will be taking the weight of the display. Taking your roses and sea lavender, begin by measuring out the height of the first stem at the top of the sphere. All the other pieces will need to be planted to this same height to give the tree a round appearance. So, with a pair of sharp scissors, begin trimming and planting a section at a time. Push the stems straight into the foam to prevent them crossing. Occasionally, step back to assess your progress. If you notice an empty space, gently ease a flower in the gap to fill it. Once the mop head is complete, finish off the base by packing bun moss (Grimmia pulvinata) up around the trunk.

and a plastic bag. Half fill the bag with plaster of Paris and insert the trunk. Top up the plaster and leave to dry.

Push the foam on to the trunk to make an impression. Gouge out a little of the foam to make a hole. Glue the trunk into the hole, pushing the two firmly together.

This topiary tree uses one of the most abundant ingredients: sea lavender. Readily available and inexpensive, the sea lavender creates a lacy, white background for the glorious rich, red roses. Make the trunk of the tree more interesting by twisting a burr, bramble or vine around it before setting it into the base.

24

TOPIARY TREES

cJ^a sj^eJ, t_re_e Warm peach and pastel greens combine beautifully in the mop head of this tree. To achieve the best balance, use more of one ingredient than the other, even if the ratio is small. Here, there are slightly more poppy heads than roses. For an extra feature which gives additional interest, create a small frill of another ingredient at the bottom of the mop head. I have tucked in dyed sea lavender.

Choose pretty pastel shades of peach and

The mop head is made from ‘Gerdo’

the palest green or similar colours to

roses and poppy (Papaver) seedheads and,

complement your soft furnishings. I made

like the previous tree, built up in sections.

this arrangement for a dinner party, so

Do not strip off all the foliage from the

placed sweetie biscuits around the trunk

roses as it helps to fill in any gaps.

for delicious after-dinner nibbling.

Finish the Pastel tree with the smallest amount of peach-dyed sea lavender

This tree is made in the same way as the

(Limonium tataricum) inserted

Sweetheart Tree but, as the mophead is

underneath the tree to form a little

busier, it uses a short simple trunk.

frilly petticoat.

TOPIARY TREES

25

26

TOPIARY TREES

£gg tree Eggs really interest me. Their fascinating ovoid shape and differing hues of pale pinky yellows, warm beiges and bronzed skin tones offer unusual potential. I made up the base and trunk as for the Sweetheart Tree, but here 1 used a larger foam sphere. There are 92 hens’ eggs in this arrangement and, as each one has to be blown, my daughters soon tired of omelettes and souffles. 1 discovered the most convenient way to make any arrangement involving large numbers of eggs was to build them up gradually. Blowing one or two eggs is one thing, blowing 92 is quite another!

TOPIARY TREES

27

Striking, fascinating and sensual, this extraordinary topiary tree is made from ordinary hens’ eggs. Each egg must be blown and wired, with the addition of a pretty glass bead, before it can be set into the mop head. Violet and peach colours work well with the natural colours of eggs; I have used violet reindeer moss in the base and pale peach as a background colour for the foam.

28

TOPIARY TREES

The easiest way to blow an egg is to take a large needle or hat pin and push it through the length of the egg. Gently ease away a little egg shell from the pin prick at the blunt end of the egg and blow from the pointed end. After a few attempts you will soon become as practised as me. Once you have assembled your eggs and basic tree, you will need to gather together

and twist the two ends together right up to the bead. Now thread the beaded wire from the pointed end of the egg through to the blunt end. You will be left with a wire ‘tail’. Bend this ‘tail’ back on itself to double it, so that when you push the wired egg into the foam sphere, the wire will not buckle. Taking the wired eggs, start at the top

some beige or pale peach emulsion paint,

of the tree, as usual, and progress down

medium gauge stub wire, pretty glass beads, reindeer moss and an Easter chick

the sides, nestling one egg up against another. For the base of the tree, I disguised the

or two. As gaps on this arrangement will be

plaster with light violet-coloured reindeer

unavoidable, paint the foam sphere first in

moss and added two chicks and a few

a pale flesh colour. Once it is dry you can

painted eggs.

begin. Take a 20cm (8in) length of stub wire

I adore this little folly, but even if you are not enamoured with it, it does

and thread the first 3cm (1 'Ain) through

demonstrate the interesting use of eggs in

your bead. Double the wire back on itself

floral arrangements.

Push a hat pin or large needle through the

Thread 3cm of 20cm long stub wire

length of the egg. Then gently ease away a

through a bead. Bring the wire back on

little shell from the blunt end by wiggling

itself and twist the two ends together right

the needle. Blow from the pointed end

up to the bead. Now thread the beaded

and the contents will empty out of the

wire from the pointed end of the egg

larger hole at the blunt end.

through to the blunt end.

TOPIARY TREES

easel tre e This little tree is made with the fruits of a seashore blustery walk with my young daughters. Had we not been gathering, we would not have walked so long or so far. The basic tree is made just like the others, using just one rather short, thick trunk and a large cone of floral foam. It is planted in an ordinary, weathered flowerpot. To decorate the basic tree you will need to gather teasels (Dipsacus sativus) of all differing sizes. These are mixed with soft rush (Juncus effusus) which grows in wet and marshy ground. Despite its name, soft rush has a hard, dark dried seedpod with a vicious spike and spears of leaves which look most attractive darting out from the outline of this display. Musk thistles (Carduus nutana) and a natural jute ribbon complete this arrangement. Sort the teasels into large and small sizes. You will need the smaller ones for the top and the largest ones for the base of the tree to give it visual weight. Begin at the top of the tree, inserting a teasel, then progress down the cone, planting the teasels dispersed with rush to fill in the gaps. Underneath the cone, plant a soft rush petticoat. Fill around the base of the pot with musk thistles or you could use husks of spent beech nuts (Fagus sylvatica) or even crumbled bark. Finally, take the soft rush leaves and place them strategically throughout the display. Tie a jute ribbon around the base as a soft contrast.

This naturaUstyle Teasel tree - with its dusky browns and rich earth colours - is in complete contrast to the other topiary trees.

29

WREATHS & GARLANDS The traditional woven wreath is centuries old. Representing the perpetual renewing of the seasons, the wreath is used for tribute, memorial and celebration and it is another means of displaying nature’s fruits within the home. The selection of wreaths in this chapter offer some ideas with which you can experiment. Create your own Celebration garland, whether using summer flowers, grasses, pine cones or different media such as feathers or shells. Two basic methods are used to create these wreaths: the Celebration, Summer and Herb wreaths are constructed using a floral foam circle. The Autumn wreath is very easily achieved by twisting natural materials together.

wmm M-

32

WREATHS & GARLANDS

Rummer splendour garland Combine

bright,

vibrant

purples

and

pinks to make a summer’s garland. This design is worked on a floral foam circle, in the same way as the Celebration Garland and Herb Wreath, but the choice of materials gives an entirely different effect to hang on your wall or door. The success of this garland depends on grouping the elements together so that they retain their individual character. Try to avoid ‘scattering’ ingredients, as the end result will be a rather messy blur. The principal flowers are roses, hydrangea and deep lilac statice (Limonium sinuatum). To these rather rounded forms, I added bunches of barley (Hordeum) and fluffy hare’s tail grass (Lagurus ovatus) to give length and movement. For contrasting texture I selected two slightly exotic ingredients: rattan palm (Calamus) and white-tipped cones. For depth and infill, I used spiral eucalyptus leaves (Eucalyptus pulverulenta) and scraps of rose foliage. A large paper bow was the only other element. Paper tibbon is a wonderful complement to dried flowers, reflecting their more subtle tones and hues. It can be bought from stationers or florists in tightly coiled lengths. Simple rub the coil between your thumbs and fingers to unravel it to its full width, then treat it in the same way you would fabric ribbon. The other advantage to paper ribbon is that it holds its shape well when tied into a bow. It is with the ribbon that I began my garland. As the bow is so full, I tied this first around the foam circle. I then began folding my barley in half to give me both ears and stalks together and secured two hearty clusters with sticky tape. I pushed one cluster into the foam beneath the bow.

WREATHS & GARLANDS

33

Many people associate wreaths and garlands with winter decorations. This display is a tribute to summer with its pretty pinks and purples and the rich clusters of roses. The wonderful blue-green bow is made from paper ribbon; it is the perfect complement to the eucalyptus, hydrangea and rose leaves. Clusters of wheat and fluffy hare’s tail grass give movement to an otherwise static arrangement.

34

WREATHS & GARLANDS

Vibrant purple statice sits next to cerise pink roses. This garland works well because each ingredient is set into the circle in groups. For ease, gather each cluster and bind it with sticky tape before inserting it into the foam. This gives a much better effect than if you try to insert the ingredients individually.

Underneath the barley I inserted one hydrangea head. Take care with hydrangeas as the tiny florets easily break off. If you buy hydrangea heads, they are usually wired with stub wire. This makes them stronger and easier to insert into the foam. However, if you take care, you can push them in by their own stems. Behind this, at the edge of the garland, push in a few sprays of rose leaves. Continue working around the garland in a clockwise direction. Tuck a little statice next to the hydrangea, then insert three or four deep crimson roses. Push in a large cluster of rattan palm just above and beyond the roses. The cones sit below this, and these will need Fold three or four stems of barley or wheat

wiring before inserting them into the

in half to give you both stalks and ears together. Bind the fold with sticky tape

foam. (Full instructions for wiring cones

before pushing it into the foam.

appear on page 115.) Continue around with a clump of hare’s

WREATHS & GARLANDS

tail grass; bunch this together and bind

each other at the next section. In amongst

with sticky tape before inserting it in to

this nestle a pink rose.

the foam. Next, tuck in more statice and

profusion of eucalyptus and rose leaves.

gently push in three, bright red roses.

Among this mass of bluey-greens, nestle

As you work, continue to assess your texture combinations. Where there are gaps, tuck in small

complete contrast of tone and texture is supplied by the bobbly rattan palm and white tipped, furry cones.

Finally, work the remaining section of the garland with eight or nine smaller pink roses, inserting them so that they

for infill, adding a contrast of texture and colour.

sweep down from the bow.

Form another two bunches of fluffy

little touch of the unusual to

three more pink roses and, towards the top, a large cluster of statice.

sprays of rose leaves. These are excellent

hare’s tail grass and insert them close to

your displays. Here, a

Come up the side of the garland with a

another cluster of barley. In amongst this,

progress for weight, density, colour and

It is often effective to add a

35

At the top, tucked in behind the bow, push another cluster of hare’s tail grass and a little sprig of hydrangea.

36

WREATHS & GARLANDS

e rb wreath If you are a lover of cooking or gardening,

Cut the cinnamon to 5cm (2in) - you

Never underestimate the

this herb wreath is a delight for the

will need six lengths. I then took three

value of herbs and spices for

kitchen.

sticks and bent a long piece of wire around

most kitchens is too moist for floral dis¬

them, twisting it together to secure the

your floral displays. Here, a complete wreath has been

plays, this wreath - as a practical kitchen

cinnamon tightly.

constructed from kitchen

Although

the atmosphere

in

aid - can last quite well, providing you use the herbs fairly quickly, as they tend to

In order to disguise the wire and add

herbs and ingredients. The

interest, cover it with a little raffia secured

advantage of this display is

lose their flavour.

with a knot. Take one wired cinnamon bunch and

that it has a practical function too. If you do

Gather your herbs from the garden or buy

plunge the wire through the herbs and the

intend to use the wreath for

them from a good supplier. I was fortunate

foam, splaying the wires out on the back

culinary purposes, you will

to pick my herbs from the rocky hills of

of the foam ring for additional security.

Provence in the May sunshine. The main herbs I have used are thyme, rosemary in flower (although flowering herbs are usually past their best, rosemary

Slightly overlap the second cinnamon bunch over the first, to add depth and

aroma quickly once left in

interest to the arrangement.

the moist atmosphere of a kitchen.

The garlic bulbs will also need wiring

flowers look so attractive) and tarragon,

before adding them to the wreath. Push

with garlic and cinnamon to decorate.

the wire straight through the bulb and

They are inserted into a floral foam circle.

twist both ends of the wire to secure it.

Stub wire and a little natural raffia are the only other requirements. As herbs shed their delicate leaves

Attach the heavier garlic to the base of the wreath. Pick out two or three cloves on the second bulb before wiring it into

easily, I cropped mine to the length I

the wreath. Once again this adds interest

required - about 10cm (4in) - before

to the finished display.

drying them. This I did by hanging them

These herbs and spices can then be

from woollen lines and leaving them

plucked when cooking and replaced when

overnight. Try to avoid unnecessary

convenient.

movement of the herbs once they are dry as they do become more brittle. Cut the rosemary flower heads down to 5cm (2in) and put to one side. Then take the rosemary leaves on their robust wooden stems and sink each one into the outer edge of the foam at a 45° angle, working round the circle clockwise. Now insert the rosemary into the inside of the circle, once again working clockwise. Build up the wreath by inserting the light feathery tarragon over the foam to fill in between the rosemary. 1 left two cresent areas free to insert the rosemary flower heads and the delicate thyme. When the whole of the foam circle is

need to replenish it frequently, as herbs lose their

Once you have cut the cinnamon sticks to the desired length, bunch three or four

completely covered, you are ready to add

together and wind a piece of wire round

the garlic heads and cinnamon.

them. Cover the wire with raffia.

WREATHS & GARLANDS

37

38

WREATHS & GARLANDS

Pel e b r a t i o n garland This fabulous tribute to winter is an in¬ teresting variation on more traditional wreaths. It needs quite a lot of prepara¬ tion, but the finished result renders this more than worthwhile. The wreath is formed on a floral foam circle. Other items you must gather together include boughs of spruce (Picea) - the type of Christmas tree which does not shed its needles so quickly - a good selection of mixed nuts, cardamom, cloves, small and large pine cones, a variety of ribbon, a dozen quails’ eggs and three or four miniature baskets. To secure everything you will also require plenty of stub wire and a glue gun. Begin by preparing the tiny baskets. I found the really miniature baskets in a specialist dolls’ shop; many good toy shops should sell these or even try a quality florist shop. The slightly larger baskets are certainly available from florists or department stores. Take the tiniest basket first and wire it through the base as shown. Wire the other basket through its side. This will give it an interesting tilt when wired to the foam circle. Fill one basket with cardamon and the other with cloves, securing the spices with the aid of a glue gun. Now take the other little baskets and wire these in the same way. Fill one with hazelnuts and the other with small almonds, again using your glue gun. Leave the baskets to one side. Although something of a luxury, the speckled shells of quails’ eggs really adds to the splendour of this wreath. As each egg needs blowing and wiring (instructions appear on page 114), save the contents for an haute cuisine omelette! Once you have blown and wired the eggs, put these too, to one side.

WREATHS & GARLANDS

39

This Celebration garland is a lovely variation on the more traditional green, red and gold Christmas wreath. Cones, gold-trimmed scarlet ribbon and Christmas tree boughs are all here, but the unusual addition of quails' eggs, cinnamon sticks and nut clusters give this garland a more stylish note.

Now work on the individual bunches of nuts and spices. Wire together cinnamon

the circle. Start with the baskets; keeping the heavier ones to the base and tucking

sticks; I made three bunches altogether.

in other ingredients to see how the

For the groups of nuts I used chestnuts, walnuts and brazil nuts. Rather than drill

different elements work together. Place some of the ribbons at the edges of the

holes in the nuts to wire them to the

wreath as this looks most effective.

wreath, glue several nuts together with the glue gun and slip the wire easily through

Occasionally, stand back from the wreath to assess your progress. Sometimes

the complete group. Perhaps this is

I find I become too engrossed with my

cheating a little, but drilling holes is a

work which takes on a very different

tricky business without specialized tools.

appearance when viewed from a distance.

Use this tip to assemble and wire up the small pine cones. The larger cones can be wired individually, as shown. Finally, tie some bows using ribbons of different colours and textures: I have used

When you are confident with the positioning of all the ingredients, wire all the items through the foam, splaying the wire out at the back of the wreath for added security.

reds, greens and gold. You are now ready to begin constructing

catkins around the perimeter of the

the wreath.

wreath for a little additional movement.

Take the floral foam circle and sink into it 5cm (2in) pieces of spruce. Do this in a random way to create a sense of movement. Experiment with the position of the

As a final element you can add sprigs of

Fine, feathery twigs work as well if you are unable to find any catkins. Before you hang your wreath, ensure everything is wired on tightly; you do not want bits falling off every time you bang

ingredients first before you wire them into

the door!

I tend to use medium gauge stub wire for

Push one end of the wire through the lowest

everything except really heavy items. Bend

band of scales and out the other side leaving a

the wire into a hairpin shape and push it

little wire protruding. Push this wire back

down through the basket leaving sufficiently

round the cone and twist the two tails of wire

long tails to go through the foam circle and

together, bringing them under the cone to

out the back.

form a stem.

WREATHS & GARLANDS

41

The success of this garland relies on the contrasting textures and complementary tones all brought together by the scarlet bows. Shiny nuts are echoed by the glitzy ribbon; the rough and rugged texture of the brazils, cinnamon arid cones balance well against them, while the pale speckled eggs lighten the display.

Cut the spruce into small 5cm (2in) pieces

Do make sure everything is secured to the

and strip the ends of their needles to give you

foam circle. It is best to wire every item with

a stem on each piece. Push the spruce into the

long enough ‘tails' which can be pushed

foam circle randomly to give the garland a

through the foam and out the back. The tails can then be splayed out for extra security.

feeling of movement.

42

WREATHS 6? GARLANDS

]Q± s of autumn wreath

WREATHS & GARLANDS

A crisp autumn day walk inspired this

clusters on their twigs, so these I simply

charming, medieval style wreath.

inserted into the base of the hoop.

Seeing overgrown brambles, ferns and

Next, I gathered the rose hips into

coppery leaves in the hedgerow, I plucked

three separate bunches, bound their stems

a few, adding some shining rose hips later

in sticky tape and then inserted my wire.

on. As I walked, I twisted the bramble -

These I pushed into the wreath in the

complete with its leaves - into a hoop as it

centre of the oak.

was much easier to carry that way; and so

43

The larger leaves, the Guelder rose,

this autumn wreath took shape.

also needed to be taped into a cluster,

Once home, I stood all the leaves and

hand side of the hoop.

then wired. These I added to the top left ferns into a glycerine solution (40%

Beneath the Guelder rose I nestled two

glycerine to 60% very hot water) and left

Leucodendron plumosum, wiring them as I

them overnight. Although this changes

would a pine cone. These add a delightful contrast in texture.

the colour of the leaves, it does mean you can use them as you would any dried ingredient: they will no longer crack. The next day 1 was ready to begin. I laid the bramble hoop on a flat surface

Copper beech leaves in small clusters

A triumph of texture and rich colours, this simple wreath is so easily made by

came next and 1 covered the base of the

twisting brambles into a hoop

stems with some natural reindeer moss.

and slotting in other

I now completed this side of the circle

ingredients. The oak and

and examined the ingredients I had

using a fat bunch of clubmoss. (This I

Guelder rose leaves need

gathered: English oak leaves (Quercus

picked from the base of a tree, you can use

preserving in glycerine first to

robur), copper beech (Fagus sylvatica),

any small, soft fern-like foliage though).

retain their suppleness. The

Guelder rose leaves (Viburnum opulus),

To finish the wreath, come up the right

lustre that these leaves

clubmoss (Selaginella), fern and rose hips.

hand side with some red and green dyed

develop is in lovely contrast

To this I added Leucodendron plumosum,

broom bloom and a few fern leaves. Fill in any naked parts with small fern

bramble leaves. Shiny rose

leaves, always echoing the flowing

hips add weight and colour at

movement of the wreath.

the base of the hoop.

reindeer moss and dyed broom bloom or nipplewort (Laspana communis). The English oak leaves form natural

Gather rose hips into three separate clusters, bind them with sticky tape, and push them into the twisted hoop of bramble and oak leaves.

to the dull green of the

SWAGS & PENDANTS Probably the most elaborate and ornate of floral displays, swags and pendants are glorious tributes to most grand occasions. In this chapter I have given instructions for three, quite different, creations. The magnificent Festive Table Swag boasts a richness and splendour reminiscent of a huge Renaissance feast day. The softer pastels of the Glorious Summer Pendant and Swag would delight any bridal couple and their guests at the wedding breakfast. Finally, the Harvest Festival Drop, is an exciting and slightly unusual wall hanging for the autumn. Although these projects can appear daunting to tackle, their chief requirements

-

once you have

assembled sufficient ingredients are nimble fingers and patience.

46

SWAGS & PENDANTS

(^_e_s_tj_v_e t_abJLe sw_a_g

Here, I have decorated a small table with a swag of materials of varying tones and textures. I have used some fairly exotic varieties, but felt that the design and occasion warranted something a little special. Good dried flower suppliers should be able to obtain the more unusual items but here is a good example where you can experiment with other materials of your choice. Gourds and carline thistles (Carlina acaulis) form the focal points of the swag; quails’ eggs, baby corn or maize (Zea mays), cocoa pods and Badam (a most interesting Indian seedpod) add contrasting texture, while Chinese lanterns (Physalis alkekengi) and Protea compacta till in the outline. Superb heavy ribbon and gigantic tassels complete the display. Mechanics needed for the swag include floral foam, string, wire mesh, stub wire, a glue gun, and felt. Nails and a hammer will be necessary to secure the swag to the underside of the table if you are decorating a large trestle table. However, if you are using a good piece of furniture, it is best to tightly lash around the table leg with string and sew the swag through the cloth to the string with strong thread. Although do not secure a heavy swag using this method. Create this sumptuous swag for a special banquet or grand ball. The swollen gourds, bursting corn and the fiery Chinese lanterns create a look of abundance and opulence.

A#

Laden with summer’s late glories and the heady fruits of dappled autumn days, this sumptuous floral swag boasts an abundance of nature’s riches. To create a feeling of movement, vitality and surprise, the choice of fruits and flowers - and their juxtaposition to one another - is extremely important.

SWAGS & PENDANTS

47

48

SVKAGS & PENDANTS

Rich colours and exotic

Toj udge the length and depth of the

Now the fun begins. Before you insert

contours are the key to this

swag, I draped a piece of string along the

anything into the swag, you must gather

swag’s success. Corn and

table and cut it when I was satisfied with

all your ingredients together.

cocoa provide length and

the effect.

movement, while gourds and

When you have established the size of

First, wire the heavy items such as the corn (maize) and gourds.

Chinese lanterns give

our swag, lay the string on a flat work

substance and warm hues.

surface and take two bricks of floral foam.

and wired with a glass bead. Instructions

The quails' eggs offset all the

Place one brick in the centre of the string

to do this appear on page 114-

other ingredients with their

and cut the other brick in two, placing the

wonderful speckled shells.

pieces on either side.

The quails’ eggs will need to be blown

Once you have assembled several clusters of eggs, put them to one side. I

Now take a piece of wire mesh and

used three dozen, nearly 40 eggs!

mould it around the foam, into the form

However, these do make the most

of a swag. I tested this against the table,

heavenly omelette.

remembering that the finished swag would be generous with ingredients. Firmly secure the wire mesh edges by intertwining them together and twisting them back into the foam. Cut a piece of felt the size and shape of

Wire the baby maize and double wire the heaviest gourds. This will give the gourd additional security and prevent it from slipping in the wrong direction. The best way to wire these weighty fruits, is to bore a hole through them and

the swag and glue it to the back of the

out the other side with a skewer. Push two

wire mesh. This will help avoid any

pieces of stub wire through the holes, take

damage to your furnishings.

the ends and twist them together.

If the gourds are very heavy, it is best to

Begin centrally with the gourds, tilting

wire them in two places. Simply bore

them against one another and tucking the

another two holes a little higher up the

open baby maize in behind them to

side of the fruit and insert more wire.

complete a focal triangle.

From the ribbon, form a rosette. This is

Wedge an intriguing badam seedpod

easily done by pleating the ribbon folds

beneath the central point, pushing in

one against the other. Push a wire through

more wired baby maize behind to serve as

the folds to secure them; by twisting the

a background.

ribbon slightly, the folds fall open into a rosette. Attach the rosette to the beginning of the wire frame and wrap the ribbon around and around the swag, finishing at the other end with another rosette. Take six giant tassels and drape three

Work from the centre outwards, placing clusters of quails’ eggs, another badam, and trails of cocoa pods flowing towards the outer edges. In against the egg clusters tuck groups of Chinese lanterns with their brilliant orange hues and contrast the texture with

from each rosette, securing them from

straw-like carline thistles. (Be wary of

behind with wire pushed into the mesh

exactly where you plant these, as

frame. Pleat parts of the cord holding the

extracting them can be painful!)

tassel to give additional movement within

On the left hand side, I have added a

the rosette, and trail some cord over the

group of smaller gourds to balance the

ribbon to enhance the interesting texture.

display, and tucked in Protea compacta to

Having wrapped the wire frame with ribbon and cord, I then attached it against

help strengthen the outline. Lastly, I wired trailing cocoa pods and

a wall to work.

added these in among the tassels.

Place one brick of foam in the centre of the wire mesh. Cut another brick in half

Use a skewer to bore a hole through the gourd in two places. Push heavy duty stub

and place these on either side of the first

wire through the holes and twist the ends

brick. Now wrap the mesh up around the

together. If the fruit is very heavy, bore

foam and mould it into a swag shape.

another two holes and wire it twice.

SWAGS & PENDANTS

50

ummer s_wa_g & p_en_da_ritm Perfect for a christening, wedding or mid¬ summer’s party, this splendid, colourful display evokes the warm, balmy days.

summer’s

sun

and

Any swag can be adapted, as this one here, to create an additional pendant. Although time-consuming,

the overall

effect is magnificent. Begin by gathering together string, blocks and oddments of floral foam, chicken wire and wire cutters. Using a length of string, measure against your table or wall, the length and depth of the swag and adjoining pendant. Using the string as a guide, cut out two pieces of chicken wire for the swag and the pendant. I spread the chicken wire out on to a work surface and filled it with cut bricks of floral foam. I then wrapped the wire around the foam and wrestled with it, moulding it into the shapes required. Do turn all the chicken wire ends into the foam, as they can badly snag your hand when arranging. For this project, I hung the wire forms from a window ledge to give me a better idea of the finished product. However, you can, of course, lay the wire forms on a flat work surface if you prefer. Begin with the pendant. For this I used globe artichokes (Cynara scolymus), various Nigella, hydrangea, strawflowers (Helichrysum bracteatum), poppy heads (Papaver), roses, peonies (Paeonia lactiflora), delphinium, Protea compacta buds, and lavender. Some of these need to be taped and wired before inserting them into the form. I adored the fluffy pompons, or “chokes” from the artichoke, and decided to position these prominently as one of the focal points of the display. Beneath them I wired up artichokes in their more familiar form and then I

V

SWAGS & PENDANTS

51

This magnificent swag and pendant of beautiful summer pastels uses a fabulous combination of old-fashioned country flowers and two rather exotic varieties: the globe artichoke and Protea buds. You do not need to use exactly the same flowers in both pendant and swag, but you should adhere to the main forms, colours and textures. For example, the “chokes” are used only in the pendant, but the cream colour is echoed in the swag.

52

SWAGS & PENDANTS

followed down the pendant with the pink Protea compacta buds. For additional depth and substance, I squeezed pale pink peony flowers in either side of the “chokes”, positioning one slightly below the pompons. Unlike a traditional flower arrangement, where it is more customary to form the outline first then work on the focal points, these wired forms have their outline already established, so you can happily play around with the larger pieces before working on the other elements and infill. I next built up the background using different textures. Clusters of small red roses, 1 bound in sticky tape, and pushed these directly into the foam strategically throughout the pendant. These give a slightly mottled appearance once set in against the other materials. Poppy heads give another texture and hue to the pendant, and these I also taped into a cluster before inserting them into the foam. Make the most of the pink dephiniums. I cut these down and used the dominant flower heads in the foreground, and filled

The delightful fluffy "chokes”

in behind with the smaller flowers from

(above) - of the globe

the lower part of the stem. These are an

artichoke - immediately

important, although not prevailing, part

catch the eye. Right: The

of the display, interspersing in clumps

pendant is given length and

throughout the pendant. Cluster some

movement with the clever

delphinium with a little lavender; the

positioning of artichokes and

colours are a perfect complement to each other.

Protea buds, which sweep down from the centre. These

1 then worked down the side with

spiky shapes are echoed on

clumps of Nigella orientalis and filled in the

the other side of the pendant

background with love-in-a-mist and

by the star-shaped Nigella orientalis. Softening these

hydrangea heads. The hydrangea in particular offers good cover for the foam

angular shapes are the soft

base.

forms of red roses nestling

Towards the top of the display, I dotted in some pretty pink-tipped Helichrysum or

Bind clusters of roses and poppy heads together at the base of the stems with

strawflowers, keeping to one side of the

sticky tape. This makes it much easier to

pendant.

push them into the foam.

amidst lavender topped with clusters of delphinium.

SWAGS & PENDANTS

53

Finally, I worked the upper and lower edges with stems of lavender. (I sprayed them first with some firm hold hair spray, as in this position they so easily shed their flowers.) With the pendant complete, you can turn your attentions to the swag. Continue the theme of the pendant, using the same basic ingredients. Once again, 1 used artichokes as my focal point; here, using three large heads, one in deep purple flower. These must be wired twice through the base before inserting them into the chicken wire. For added strength, twist the stub wire through the chicken wire and not just into the foam. This is advisable for all heavy or unstable items. I then tucked one deep pink peony in among the artichokes, placing others around the perimeter of this central group. Extend outwards with the long forms of the Protea compacta buds, keeping them close to the centre of the swag. I reserved six buds, however, placing three at each end of the display. Once these dominant features are in place, filling in is easy and fun. I wired together separate clusters of lavender, poppy heads, cream and pink roses and love-in-a-mist. Make some clusters really substantial to give the swag fullness and rich opulence. I used the hydrangea heads to tuck in around the edges and cover the floral foam. Strawflowers in varying shades of pink were dotted strategically throughout the display. Among the lavender, or between the artichokes, these merry little flower heads give importance and contrast to the other elements. Stand back from the display to see if anything needs adjusting. Remember, nothing here is irreversible, you can always pop bits in then take them out if you do not like the effect.

54

SWAGS & PENDANTS

r v e s t festival drop Gathering the maturing fruits of the sum¬ mer into this ripe decoration create a rustic, yet slightly wild, arrangement. The wire structure is made from floral foam, bound with chicken wire in the same way as the Summer Pendant. I worked this pendant in situ, as the colours and texture of the brick wall on which the pendant was to hang, directly influenced my choice of materials. The main elements of the pendant are gourds. These are available from most dried flower suppliers in various sizes, colours and forms. Wheat (Triticum aestivum), sweetcorn or maize (Zea mays), chilli peppers, bell reed and spiral cane cones constitute the other materials. The heavier gourds will need substantial wiring before they can be used. Bore two holes through them, as explained on page 115, first. The larger corn or maize will need

Insert the wheat, encouraging it to flow

heavy-gauge wire inserted through it twice

downwards and outwards from the corn

before you can use it. For the smaller

and gourds, until you reach the base of the

corn, you need only wire once through

arrangement.

the base. Peel back the outer leaves of the corn to reveal the cob beneath.

For the upper part of the display, cut shorter lengths of wheat.

To begin, place the largest swollen

Use up any broken stems by inserting

gourds into good focal positions. I chose to make two groups of gourds. As they are

them roguishly throughout the display. These give the pendant a rather alarming

so heavy, it is best to wrap the stub wire

appearance and are in stark contrast to

through and around the chicken wire,

the wheat ears which soften the outline.

rather than just inserting it into the floral

The overall impression is therefore one of

foam.

slight abandon.

Then position the corn against the

At this point, step back from the

gourds, working with the largest ones first,

display to assess your progress and evaluate

angling them out into slender fan shapes.

which parts now need work.

Insert the smaller corn beneath their

Fill in some gaps with clusters of spiky,

larger counterparts, following the lines of

red chilli peppers. These create a

the bigger pieces.

pleasing contrast of colour between the

Now take the wheat and gently bend each piece in two, taking care as the stems can easily snap. Lay a piece of wire in the fold of the wheat, pull the wire together and twist the ends securely.

areas of gourds. Spiral cane cones throughout the form, adds to the slight wildness of the piece. Finally, give the arrangement depth by filling in with bell reed.

SWAGS & PENDANTS

55

Bold and striking, this harvest pendant is filled with traditional autumn produce arranged in a contemporary style. Wheat and barley stalks are made as much use of as the ears themselves. The spiky stalks give the pendant a slightly abandoned appearance. Far left. clusters of bright red chilli peppers provide an unusual infill, but their devil-red colours and wonderful long, twisted bodies, add a fascinating element and complement so well the curly spirals of the canes.

V*

FREE FORMS The surprise element has become increasingly fashionable in floral displays, so be willing to experiment. Dried flowers, with their contrasting tonal qualities and inspirational textures, provide an ideal medium in which to exercise free expression. However, most free forms are created with careful planning and an eye to proportion and colour, so do not think free form means random disorder! In this chapter, I have allowed flowers to meander across a basket and candle sconce, I have experimented with unusual containers such as a large verdigris platter; I have also let the subject or setting play a key role in the display. With free forms, empty space can be as much a part of the design as the object it surrounds. Flowers lend themselves to discovery: so let your imagination flow. Use these ideas to inspire you to try others.

1

|

Bf‘

jy *aB ytyf? ./' Jf 4 jmR®£'*. #pH '•■. I'M

.--

-fjJtLSS'*/

Vv. ''