“The Spirit of Spring” could be interpreted in three ways:
1: A perfect crescent of Willow catkins with five lovely blue Iris blooms following the graceful sweep of the outline. A knot of yellow spotted Aucuba leaves conceal the pin holder, and the whole design is staged on a slab of polished wood. A March Hare peeps shyly from behind the design. Best philippines flower shop online delivery at philippinesflowersdelivery.com/
2: A beautifully finished triangular design correct in every technical detail. Tulips, Iris, Freesias and perhaps the lovely spray of Clivia of central interest. A choice vase completes this exquisite picture.
3: The base is composed of a piece of a moss covered bark. A few uncurled Ferns Fronds, together with fresh garden daffodils in various stages of growth, are arranged in simple style with their own green leaves. A branch or two of Hazel catkins add height to the design. A small knot of primroses and a pair of prancing spring lambs add to the general appeal of this simple picture.
Although exhibit 3 may possess none of the calculated impacts of No 1 nor the polished sophistication of No 2, it does truly convey the “Spirit of Spring”. The bursting of new life is not calculated sophisticated matter, but a moment of great natural and moving simplicity.
Important to realize
In interpretive work, the controversial question is the use of an accessory. It is very important to realize that unless an accessory. It is very important to realize that unless an accessory forms an integral part of the design one should refrain from making a habit of using it simply because it is available. Every accessory used should supplement the spirit or theme and contribute harmonizing color and texture to the completed design.
In a class where the exhibitor is illustrating the beauty of a piece itself as the focal point of the design in preference to attempting to repeat the color, shape, and variety of every flower on the china.
For example, a crescent-shaped design of exact matching golden Chrysanthemums and a drape of dull bronze luster plate, but obviously all interest is drawn away from the plate, whose beauty is completely overshadowed by the fresh flowers. Replace the bronze drape by some gray-blue velvet and the lustrous texture of the plate become much more apparent.
1: A perfect crescent of Willow catkins with five lovely blue Iris blooms following the graceful sweep of the outline. A knot of yellow spotted Aucuba leaves conceal the pin holder, and the whole design is staged on a slab of polished wood. A March Hare peeps shyly from behind the design. Best philippines flower shop online delivery at philippinesflowersdelivery.com/
2: A beautifully finished triangular design correct in every technical detail. Tulips, Iris, Freesias and perhaps the lovely spray of Clivia of central interest. A choice vase completes this exquisite picture.
3: The base is composed of a piece of a moss covered bark. A few uncurled Ferns Fronds, together with fresh garden daffodils in various stages of growth, are arranged in simple style with their own green leaves. A branch or two of Hazel catkins add height to the design. A small knot of primroses and a pair of prancing spring lambs add to the general appeal of this simple picture.
Although exhibit 3 may possess none of the calculated impacts of No 1 nor the polished sophistication of No 2, it does truly convey the “Spirit of Spring”. The bursting of new life is not calculated sophisticated matter, but a moment of great natural and moving simplicity.
Important to realize
In interpretive work, the controversial question is the use of an accessory. It is very important to realize that unless an accessory. It is very important to realize that unless an accessory forms an integral part of the design one should refrain from making a habit of using it simply because it is available. Every accessory used should supplement the spirit or theme and contribute harmonizing color and texture to the completed design.
In a class where the exhibitor is illustrating the beauty of a piece itself as the focal point of the design in preference to attempting to repeat the color, shape, and variety of every flower on the china.
For example, a crescent-shaped design of exact matching golden Chrysanthemums and a drape of dull bronze luster plate, but obviously all interest is drawn away from the plate, whose beauty is completely overshadowed by the fresh flowers. Replace the bronze drape by some gray-blue velvet and the lustrous texture of the plate become much more apparent.
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