Date Time
Location / NGC Design
Refer to Design Types / Create Design with Partner / Design to bring to meeting / Flower Report
(Member)
Tools/Supplies
Sept. 15
1-3pm
MVSC / Panel Design Pg. 205 HB
Review & discuss the requirements. / Panel Design
Bring: Tools, Supplies,
Container, Panel, Flowers & Foliage / None since we are just beginning the series of programs. / Dahlia - Gerry
  1. Description
  2. Conditioning
  3. Use
Tools/Supplies - GD
Oct. 20
1-3pm
MVSC / Creative Line Design Pg. 199 HB
Review & discuss the requirements / Creative Line
Bring - Same / Panel Design / Chrysanthemum – Cherie
Tools/Supplies - GD
Nov. 17
1-3pm
MVSC / Creative Mass Design Pg. 200 HB
Review & Discuss / Creative Mass
Bring - Same / Creative Line Design / Carnations -
Helen
Tools/Supplies - GD
Dec. 15
1-3pm
MVSC / Wreath – Evergreen
Pg. 213 HB
Review & Discuss / Each member Bring - Same / Creative Mass Design / Potluck
Luncheon Social
Jan. 19
1-3pm
MVSC / Speaker – Floral Designer / Rose Bud Vase
Bring - Same / None / Rose – Lynn
Tools/Supplies - GD
Feb. 16
1-3pm
MVSC / Transparency Design Pg. 211 HB
Review & Discuss / Transparency
Bring - Same / Creative Vertical Line Design Pg. 199 HB / Lily – Sylvia
Tools/Supplies -
GD
March 16
1-3pm
MVSC / Angular Design Pg. 196-197 HB
Review & Discuss / Angular Design
Bring - Same / Transparency / Narcissus -
Tools/Supplies - GD
April 20
1-3pm
MVSC / Duo Design
Pg. 200-201 HB / Duo Design
Bring - Same / Angular Design / Tulip -
Tools/Supplies - GD
May 18
1-3pm
MVSC / Miniature Design
Pg. 203-204 HB / Miniature Design
Each member create / Duo Design / Iris -
Tools/Supplies - GD
June 15
1-3pm
MVSC / 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.

  1. 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.

  1. 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 grid-like 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.

  1. By positioning solid forms in front of and behind transparent ones an increased awareness of depth is realized.
  2. 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.

  1. Check federal and local fire codes before including wreaths, swags or garlands in the schedule.