Video: Using Floral Mechanics in Creative Ways

In this video I show how to use netting, foam and a tape grid together to support floral elements in a creative way! What happens when you want to use flowers who need different levels of support? What if you have an idea for a design that needs firm support in one area and loose support in another? That’s when using multiple floral mechanics is helpful!

Transcript

Hey, I'm Kelly. Welcome to "Team Flower." Today, I'm going to create a winter arrangement with you, and I have just five simple ingredients, golden raintree, and I have some of the pieris japonica, foxtail lilies. I have some grass. This is the grocery store grass just from the little field beside the grocery store, and a poinsettia from the grocery store. So all things that-- this is probably if you're going to go out there and practice an arrangement that's similar to this, this is probably going to be the thing that you might have a little bit of trouble finding, but you really don't need this specific type of thing. You just need something that's long and reaching and has a little bit of a bend to it.

So I'll talk about the purpose of the ingredients. The purpose is really the most important part. You can substitute with anything that fills a similar purpose and recreate a similar look.

Now, in terms of mechanics for this arrangement, I'm working in, I guess this is what I like to call the sailboat shape. But if you can come around here and just get a close up of how we have this set up. A lot of times I talk about wire, wire foam, and frogs and tape. There's lots of different ways to put together the mechanics for your arrangement.

And I like to choose those things based on the ingredients that I'm putting in the arrangement, not just what my preference is because I think sometimes people get locked into, well, I only use frogs or I only use foam or those kinds of things. But not all flowers perform really great in foam, but some flowers really need that really strong, stable thing. This container doesn't allow me to have a frog in here, at least not the shape. I just have the round ones in the studio right now. And just the way that it's shaped, it's difficult to really secure a frog in there really well.

So I thought through, well, how is the end of the design going to look? What are the components for mechanics that I can use to put together so that every flower's need is taken care of? So usually my technique for mechanics is a little bit simpler than this, but for this arrangement, in particular, I think it's important to have these different components.

So I'm going to fill this up too tall so I can tip and show, but you'll see I have a layer of chicken wire in here deep inside the bowl. And then I have a little piece of foam over here on my right-hand side, and then I have some tape grid over top of that. So this foam is important for the foxtail lily, which is really heavy and has a very thick stem.

The chicken wire, we can easily handle. The pieris can go in that. And this grass, I didn't put the foam to the edges on both sides because I need a little bit of room for the grass to go right into that chicken wire.

So I just wanted to share that with you as you're thinking through arrangements that you could be making. You can configure these in any type of way to meet the needs of the flowers, the ingredients, the end place that it's going to really serve your client best and meet their needs. And this one is just going in the house, so I'm not concerned about water sloshing in the car or anything like that. And if I was, I would just tip out water and refill whenever I got to my destination.

But without any further ado, let's go ahead and get started. I am going to begin with the pieris as the base in my creation here today. And right now, we're establishing the shape and the size of the arrangement. And this ingredient, while I am going to use the foxtail and the grasses are going to play an important role in shape and size as well.

This is really that low piece that the other flowers can be supported by, but it's also a pretty important shape component as well. So rather than just only using it to cover it down here in the rims, I see it being a pretty prominent piece.

So before I got started, I surveyed all the ingredients that I had, and I thought in my mind how would I like to go about arranging them, what are their strengths, how can I showcase them the best. And with the pieris, I really love the idea of it being dominant on one side, a little bit heavier on one side, but still having a little touch of it over here because I imagine these foxtail lilies shooting up in this area. So that's going to add some visual weight and balance it out over there.

So this is what we're looking at over here right now. And I'm designing this. I think if I have extra ingredients, I might go back in and finish up the back side, but I'm imagining this arrangement with what I have available to me just being one sided and being placed up against a wall and show cased in that light. So it's a silhouetted end use is what I have in mind. When we're really focusing on, the lines that are being created here, not as important that we have a finished back in this case.

So there's the main shape and silhouette that I have going with the pieris, and I'm going to add some of the grasses. The grocery store grass is next. I want those to shoot up and flow out over to the right side. And these are something that necessarily need lots of water right now. They're already pretty dry.

So what I'm going to do is do a little bit of a measure here, and then I'm going to bind them together so that they stay hanging out as a club whenever they get mixed in here with the rest of the flowers. And if the position isn't quite right and we need to pull the binding apart, that's no biggie. But that's what I think will perform the best, which you don't know until you get going. Every arrangement is different. Every flower group is different.

So now I've just got those together. Now, they're all one stem as opposed to being many, and that makes it easy to get it situated in here. Drama. Drama. Grass drama. Pretty fun.

So these foxtail lilies I saw as being really the backbone of this arrangement, so I'm going to add those next, nice and tall and reaching that uppermost point. And I thought it be a fun contrast with these really light grasses. The grasses really give us quite a drama moment too. But these add that touch of stability, and they have so much personality with their little curves.

And this tall one, if I just only use the tall one and I have a thing. I have naked stems very much. Sometimes they're fine, but for this, I like using the two pieces to work together to keep the flower beds going the whole way down into that base. And I think I'm going to stop with those for now. There could be another one. It depends what suits you, gives it a heavier look.

See whenever they're here at the same angle, they look like little-- I'm going adjust that a little bit. I don't know what littles they look like, but you just need to adjust the height of them so they don't look like, we'll call them ears. So that gives us a little stair step.

And the last ingredient, well, we have two more. We've got the raintree yet. And this I thought would be this pretty coming down and spilling out along with the pieris, little accent for that.

And since these don't need to be in water at all, you can use that pieris to tuck them in. Since some of them have shorter stems, you can touch them in and support them in and among the pieris. And you'll see I do have there is lots of open space in here. The mechanics are totally visible right now. That's something that we'll address.

But whenever you're doing something that is a little bit more sculptural, you need the negative space deep down inside here. So if you start filling that up too quick, too fast, then you really lose the interesting silhouette of the foxtail lily and things like that. So under here, this is an opportunity where just some light layering of moss can go in, trachelium, things like that that are very flat.

And in this case, I'm probably going to do a little bit with the poinsettia, just a leaf over top of the mechanics. Very, very subtle. So it's around Christmas time up here in the mountains, so the grocery stores, the poinsettias are out in the masses right now.

I love to get this poinsettia right in the water, directly in the water. Poinsettia does have the white sap. And so whenever that bleeds out, it will bleed out and will form little scab. The sap will eventually stop coming out of the plant, so it's important when you create an arrangement like this with a flower that has that, some people recommend clipping it, putting in water, letting it all run out and then switching it into a new bucket. So they say cut them at the length that you would want when you go in the arrangement. Well, sometimes when you're making the arrangement, you're not quite sure how long you need it to be.

So when you're planting, you can clip and let it sit in a little vase beside you and test it out, and then let it drain out and put it back in. What I'm going to do today is I'm going to put it in, I'm going to let it drain, and I'm going to flush the water. Just want to keep the water clean. But all of these plants are being clipped, and they're taking that first drink. So you if did do that, I'd recommend adding this one in a little bit later after they've already had a chance to get some of their water out.

But I could also just clip and pop them in my little vase here as well. So that is up to you. You can do some experiments and see what kind of difference it makes.

Now, we're just adding those poinsettias in there. I think I really could have stopped before, but these are that nice little focal point, and by little I mean big. Focal points are big, but I think with this, with the emphasis that we had on the shape and the way that the lilies came up and out, I think it could have easily been done before.

So we're at that matter of preference point. It's all a matter of preference, actually, but the principles are what help guide us. So we can interpret them a lot of different ways. So my dominant principle before I added the focal point could have just been the line of the foxtail lily. It works both ways.

All right. So that's what I've landed with and where I'm going to hang out and quit. But I am going to just go back over with some of the poinsettia and the raintree and just do some low coverage in here at the bottom to cover mechanics. But that's all, nothing really interesting to see there with that.

So here you have it with the poinsettia, and I will pop these out so you can see and get a visual again if the line was going to be the dominant principle, how that would change the overall composition. So there you have it. Thanks for watching.

Playing a Special Role in the Life of Your Clients with Lauren Hill

This week, Kelly’s chatting with Team Flower Member Lauren Hill of Full Bloom by Lauren. Located in Atlanta, Georgia, Lauren serves her community by creating lifestyle designs for weddings and events. In this episode, you’ll hear about navigating Covid-19, Lauren’s future vision for the floral industry, what the Black Lives Matter movement means for the floral industry, and playing a special role in the life of your clients.

Fast Flower Video: How to Evaluate Your Floral Arrangement

In today’s time-lapse, I used apple blossoms, carnations, tulips, caladium, nerine, and scabiosa. I didn’t love the result, but I did love the idea of sharing it with you anyway. I hope that leading you through the gentle process I use for observing my work will help you be more graceful towards yours. Your artist’s heart is valuable. Hidden within the walls is a wellspring of creativity.

Problem-Solving Through Crisis with Tulip Town

On this episode of the Team Flower Podcast, Kelly is joined by Andrew Miller and Angela Speer. Andrew and Angela are two of the five owners of Tulip Town. They were all high school friends who recently returned to their hometown of Skagit Valley to purchase the iconic Tulip Town farm from its founder Anthony (Tom) DeGoede. Their mission is to carry its rich tradition into the future for many more generations to enjoy.

You’ll hear from the pair on how they’ve navigated the COVID-19 pandemic as a farm. It’s important as a business owner to know how to problem-solve in a crisis, and Andrew is walking through the steps you can take and the questions you should be asking. We’re ending the interview talking about mind-mapping—what it is and how it works.

Video: Suspended Floral Installation Using Hops

This lesson is about putting together an overhead garland with florals.  If you’ve never put one together before, here’s a behind-the-scenes look at my take from the time.  Please laugh and have fun watching me wrestle with an 18’ piece of monster vine all by myself.

Transcript

Today we're going to have some fun with hops. You may be wondering, why is Kelly wearing giant gloves? Because Kelly's allergic to hops. That's why.

Taking one for the team today, because hops are a really neat ingredient. You can use them in a lot of different ways, super-super-large-scale the whole way down to little boutonnieres. So today, we're going to do an overhead hanging type of an arrangement using the bar up here. We've got hops, a little bit of lemon leaves, some dahlia, tuberose, cosmos, gomphrena. It'll be fun.

That's the ingredients that we're working with. Let's talk a little bit about the supplies that we have. This is just a simple small board from Lowe's. This type of design that we're about to make is something that you might attach to a beam that already exists in the venue that you're using, or it may be something that you need to hang to be lower from a beam in the venue. So if you're using it, if you need to attach, you can use this method to attach it directly to the beam and just kind of pretend that this is the beam at your venue.

Or you can use the same kind of materials that we're using here. This one is a little bit narrow. It's not a 2 by 4. 2 by 4s are pretty heavy. So I like to keep my mechanics light but still weight-bearing. We're not going to put a ton of weight on this, so this will be adequate for what we're working on today.

If you need to attach this to a beam, you can just simply drill a hole through the board and put a rope through. Tie the rope in a double knot there at the end. Make sure it's nice and secure. And then you can throw that up over your beam and get everything connected that way. So that's an idea, if you need to rig it on something else.

So we'll get started here. I'm going to use some lemon leaf, our salal foliage, as a base. And then we're going to work in our little Oasis pieces. And then we're going to go add in the hops around those.

So do you have to do this exactly like I do it? No. There's more than one way to do things, and I think that's an important distinction to make. So you might see this and think of a way that you can be more efficient or faster or something. This sparks a little node of inspiration, so please feel free to adjust as you need to.

And I also wanted to mention I have just a little delivery box that I'm using. Dad and I put these together, but they flip upside down really wonderfully if you need to use them as little step stool. So this is something that I love to have on event day, because it's multi-functional and it doesn't take up extra room in my car.

So we'll get started by just putting a little bit of this onto our form and I'm going to use zip ties to do this. You could use wire or tape if you wanted to as well. That is up to you. Everybody has their preferences there too.

I'm going to put a little bit above, put a little below. And I'm not that worried about covering the form per se. I just wanted to have a little bit of a base to start out with. The hops are really going to do most of the work for us here. But I think sometimes it's nice to have an alternate leaf shape and shade in designs, so that's why we're going to go with these.

It's also pretty budget-friendly, just another reason why I love it. And it really is a workhorse. The bunches are big so you can use it throughout your event.

It doesn't have a great shape for centerpieces in my opinion, or bouquets. But I think for installation work it's pretty great. And there are ways that you can use it in centerpieces and bouquets too if you needed to. But I prefer something that's a little bit less stiff. But this is great for garland-making as well.

OK. Next we're going to add in the Oasis. And I'm going to show you two different ways that you can do that. The first thing that I have is a little igloo Oasis cage. And it has the little things that you can attach a zip-tie or a wire to put it on the structure.

So I'm just going to space this out evenly. And since this piece is going to be viewed from the ground up, I'm going to focus on putting the flowers low. And these, I kind of like to run them through the actual Oasis pieces, because sometimes these little side pieces can pop off and I just would like to avoid that.

The other option that you can do is a little bit more budget-friendly but also a little bit more labor-intensive. I've taken just a regular cube of Oasis and I cut it into eight sections. And you can use this with a little bit of chicken wire instead of the cage if you need to.

So I have a piece of chicken wire cut here. And I'm just going to wrap it around the Oasis. And this simply keeps the Oasis from breaking into pieces once you get a lot of flowers in there. And then I'm just going to take that and attach it right to the form. You can run it through the wires if you'd like for just a little bit of extra hold.

And I think on this one I'm going to do five pieces. And I'll put the measurement for in the finished product and the recipe for how many flower we use so that if you'd like to create something similar for something that you're doing, you can easily swap out the materials and the quantities and just have a better idea of how to quote the event out.

I have raindrops. Oh. All right.

Let's add in some hops next. Let me get my gloves. These are pretty big. I sort of imagine-- they remind me of Jack and the Beanstalk a little bit or something. I feel like I should yell "bombs away" and just throw it over.

All right. I should also mention that if you haven't had hops before, there is the-- my skin just breaks out in a rash. But there also is an odor associated with hops. They smell a little bit like fish when you open up the box, so just be aware of that. It's not a deal-breaker, but if you're pretty sensitive to smell, it's going to be something that's a little bit unusual, you're going to want to watch out for.

And if you can't flip it over top of your beam, like I did, or if you wanted to have just a little bit more drape or something like that, you could attach the hops with zip-ties, just going along the main vein of the vine. And I apologize. I'm going to have to put my back towards you just for a second, but I want to just kind of assess and trim out some pieces in the hops that are maybe browning or too long, just get the shape of this. This is the shape component for this arrangement, so we just want to get the silhouette looking really nice.

And since these arrangements go so high in the sky and it's going to be dim and dark in the area that you're working, you don't have to obsess over every single little piece. Since these are something that come out of the box out of water, there may be a little bit of wilting and browning, especially if you're trekking them around in the sun. But for the most part, they're pretty sturdy.

And I'll put a source for these out of Oregon that ships in your Notes for those of you that are here in the States. And if you aren't, hop on community and chat with some people that are from your area and see if you guys can come up with a great source to find these where you are.

Now, this would be a fun arrangement that you could-- after you've got all of your flowers and things in, you could add them hanging candles down in here, like little twinkle lights, or you could do actual little electronic twinkle lights. OK. And we may edit that a little bit as we go along, but it's cleaned up and it's in a better place-- in a better place than it was when we initially popped it up there.

The next thing that I'm going to kind of look for is just any obvious areas that are exposed, where mechanics are exposed. And I just want to give those a little bit of attention before I start getting all of my flowers organized and incorporated in there. So I'm going to pop back in there with a little bit of the lemon leaf foliage. And I think we're mostly done handling the hops. I can handle them a little bit, but I don't want to give them a big bear hug.

So this area right in here needs some attention. So I'm actually-- I see a good opportunity here to just adjust the way that this vine is hanging. And that'll help with part of this.

And then I might tuck just a little bit of this in. And now the hops can be used as a base or a way to hold flowers in place as well, which is fabulous, all of those stems that are crossing over, weaving together. Grapevine is a great thing for that as well, maybe if you needed to do a big overhead installation. Grapevine acts as a similar type of thing, creating a net, a natural-looking net for flowers and things to rest in.

And then another thing that I love to have onsite whenever I go places is some moss, because you can just quickly pull off some pieces and fill in. So I'll do a little bit of that now, and then before I wrap up a project like this, I like to squeeze my eyes together just like you would when you're putting Christmas lights on a tree, just to see if there's anything that's standing out. You just kind of squeeze your eyes and look for that board. You'll see if there's any places that need to be covered with a little bit of moss.

Another idea for covering mechanics is to spray paint the piece that you're using, so this board we could have spray painted a green color. And that would have helped as well just to camouflage. So if that's something that you're very sensitive to, that's another little option for you.

Next we're going to add tuberose. I think I may have left this off the ingredients list whenever I first started talking about them. I love tuberose. They smell fantastic. These are so great to have in brides' bouquets and on tables and things like that, where people will pass them.

Up here, their scent is going to be overlooked a little bit, but their shape is important for this type of arrangement. We need a few things that are long and stretching, so I've done such a great job covering up my mechanics that I can't even see where my little Oasis houses are. OK. There's one.

So here we're going to use-- this isn't going to be one of-- the big show-stopper in this arrangement is the cosmos, so we're just going to put a few of the tuberose in there. And I'm using them to mark where my Oasis is hanging out, so one in here.

And today, I'm working on primarily the front side so that you're able to see and experience putting this together. But as you do it for your event, you're going to want to keep walking between all the sides. And you're also going to want to create depth. So for example, you can see how I have a tuberose hanging out back here in this area. And that's to draw the eye back in and through the arrangement. If they were all on the front at the same level, it wouldn't be quite as interesting for the people who are enjoying the flowers.

Next we're going to put the cosmos in. I love how light and airy these are. They're a really fun flower to include in your designs.

Another consideration-- I know I talk a lot about the allergy of hops, but just keep that in mind if you have people that are working for you. You don't want to put somebody in a place where they're feeling really uncomfortable and itchy all day, so take that into mind. If somebody seems like they're sensitive to it, put them on a different task. Just a good thing to know in advance. Keep everybody on your team happy and healthy.

And as far as placement for these, I'm just keeping an eye on evenly spreading them throughout the arrangement. And we have dahlias that we're going to add. And whenever I put those in, I'm going to concentrate on making an interesting line for the eye to follow with those. So these are just kind of little-- I guess you could call it a fill if you wanted to, but this is just our main cover.

In a centerpiece, these would be great as a finishing flower, because of their light and airy quality and just the shape of their stems. But this one can transition in quite a few ways. It's great for, in this situation, a fill as well.

And I've left a few of the cosmos in my little bucket over here, so after I get most of the-- I go through and get all the components in, then I like to just take a quick peek and sometimes there's an area that needs a little bit more so I have a few left over that I can go back in and make those adjustments if needed. But I think it's nice to get through all of the initial placement of all of your ingredients before you perfect. And if you run out of flowers to perfect with and you're kind of moving things around, it just takes a little bit more time. But no worries if you have to do that. Sometimes it happens.

So I've got my pretty white dahlias here. Since they're the largest component here, it's where the eye is going to naturally be drawn to. So we're going to focus on creating a few little focal points within this large, large arrangement using these dahlias. And we're going to do that by grouping them together within different levels and by arranging them in a little bit of a line.

This is called an implied line. It's like a connect-the-dots line. If you were looking up at the stars at night, how all the different constellations you sort of use the stars as your point to form all those different constellations, it's similar here, what we're doing with these flowers.

And if this arrangement is going to go at a point where there is kind of-- it's at an entry point, maybe, where the eye would be drawn up, you could-- at the center of your arrangement, you could focus on taking one of these larger flowers up high. You're going to want to keep an eye especially underneath, though. This is really where guests are going to view and enjoy it, so you're going to want to add some in there at varying levels too.

If you have a bride who's getting married in the fall that just really loves peonies, you can definitely show her dahlias. I call them the peony of fall. And usually once they've seen one, they're excited about them, especially the big dinner plate ones. They're becoming a little bit more well known with the girls. But some people just don't know what they are and haven't seen them before, so a little bit of education goes a long way.

And a word on dahlias. They can be pretty tough if they come wholesale, I think, to keep looking fresh and great. So I recommend finding a local source if you're able to and the Association of Cut Flower Growers is a great place to go for that.

You just really lose a lot of the life of the dahlia, since they are a shorter-lived flower. Their vase life typically you can expect to be from maybe two to four days I would say. So if you think about that they were cut at the farm and then they were shipped and then they came to you, they've already used up quite a bit of their life expectancy, so I think it's a good idea if you're able to get those local.

And if you hop on Community, there's a little discussion going on about wholesale dahlias and some things that people have been trying. I haven't experimented with the wholesale methods, with chemicals and things like that to maintain them. I just didn't want to go there, because I have some great local sources, so it just felt kind of like a waste to me. But they're sharing some possible solutions and things that you can do to keep those alive there.

So next, this is gomphrena. I'm just looking for my Oasis and popping it in there. This is a nice little kind of fun little accent piece. And again, don't forget underneath, and like I mentioned, the other side as well.

And I pulled one more ingredient that I was thinking about putting in this arrangement. And it's just a bit of Queen Anne's Lace as our finishing flower. So after I work in the gomphrena, we'll go there next.

Some of these pieces of gomphrena I'm having a hard time finding my Oasis spot. So you could have on hand-- I like to travel to installs with a few water tubes filled up. So you could have those on hand just to pop your stems in and then you can use the grid of your hops and put your flowers in that way if you have more than you can do with the Oasis, or if you would just prefer to do that instead of Oasis. It's kind of a matter of preference, I think. Oh. Found it there.

All right. Let's move on to our last ingredient, the Queen Anne's Lace. We're just going to use this to sort of finish it off and add a little bit of lightness to the design. So I want this to come out further than all of the other ingredients that I've put in here so far, since it is the last light, airy piece. And again, I'm just spreading these out like I did with the cosmos, pretty evenly. But if you wanted to use them to accent a specific line or grouping, you could pay attention to that as well.

All right. I'm going to step away for a minute and just take a quick peek, see if there's anything that I want to change or edit. And then I'll be back to show you the finished product. We'll be right back.

And I'm back to wrap up. I went ahead and I just did that little squinty eye and looked for any pieces of the mechanics that were sticking out and I covered with a little bit of moss and a few hops up there. And then I just wanted to show you before we sign off for today two little examples of something you might like to use or include in a design like this and the sources for those.

This is a little candle globe from Accent Decor. And then this is from-- I got this in New York at the flower market whenever I was there. So I'll show you-- I'll put links to these things in your Notes.

But I just wanted to show you how I attach them real quick. I just use a simple piece of floral wire to put those together. And I just make a little paper-clip-like piece to attach everything. So if you use a gauge wire maybe like between 16 and 20, you should probably be-- you'll be in good shape with something like that. 16 is a little bit heavier than 20, so just depending on how heavy your piece is that you're using. But I just wrap that up there, find a nice strong piece of the hops vine, and attach it like that.

I like these covered globes just because the flame is completely covered and you don't really have to worry as much about fire and things like that with something that is completely covered on top. These ones are a little bit-- you just have be a little bit careful. Maybe put them a little bit lower in your arrangement or your design.

Candles do generate quite a lot of heat, so even if it doesn't catch on fire, it might cause it to brown or something like that, so just something that you want to keep in mind if you decide that you wanted to put some lighting to this arrangement, you want to keep it pretty low. And just fishing wire is what I like to attach those with, but it's good to prep all those things in advance, because whenever you're doing a big install, oh, time just flies. So if you have all of your fishing wire pre-attached, you can just store them that way and then they're always ready to go and you don't have to rewire each time.

So that is the oversized hanging arrangement. I hope you enjoyed it and I hope that it encourages you in your next design. So we'll be back soon with another project for you to try. Thanks so much for watching and we'll see you soon.