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How to do floral arrangements - Online sympathy flower - Avenue flower club.

How To Do Floral Arrangements

how to do floral arrangements

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how to do floral arrangements - Flower Arranging

Flower Arranging for Beginners

Flower Arranging for Beginners

A beautiful floral arrangement can add the perfect touch of beauty and decoration to your home as well as being a unique and elegant way to express your creative self.
Join professional floral designers Faith Cass and Leah Denlinger as they take you step-by-step through the process of making simple, elegant flower arrangements.
Whether you're a beginner or are simply looking to improve your floral design skills, this DVD is the perfect way to explore the wonderful world of flower arranging.
This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

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wall bugs

wall bugs

FIXATING on the vase, a time-honored vessel that goes back maybe to the dawn of history, Betty Woodman has brought it to spectacular new life in contemporary art. Her work both challenges and invokes the traditional elements of vase and vesselhood so imaginatively that it lives in a class by itself. You can experience its power in her first retrospective, "The Art of Betty Woodman," at the Metropolitan Museum of Art. The exhibition is also a first for the Met, a collector of pots from all ages that has until now never given a solo retrospective to a living maker of them.

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Metropolitan Museum of Art
"Floral Vase and Shadow," a 1983 work by Betty Woodman, part of her solo retrospective at the Met.

"The Art of Betty Woodman" continues through July 30 at the Metropolitan Museum of Art, Fifth Avenue at 82nd Street, (212) 535-7710.
Readers’ Opinions
Forum: Artists and Exhibitions

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Courtesy of Metropolitan Museum of Art
"Aeolian Pyramid," from 2000, consists of numerous flat vase cutouts.
Vessels in the shapes of pillows, bodies (human and animal), flowers and plants; vessels that range in form from Greek to Chinese to Aztec; vessels as baskets, cups, soup tureens and letter holders; vessels inspired by architecture and clothing; vessels that cast ceramic shadows of themselves; vessels that hug a wall or sit on a shelf; ceremonial vessels; even one in the form of an erotic burrito — Ms. Woodman has neglected no source that might be used as a basis for her exuberantly extravagant creations.

Although ceramics remain her basic medium, her art, with its wild colors and eccentric shapes, has gradually breached the border between craft and high art to intersect with painting and sculpture. "House of the South" (1996), a mural-size wall installation in the exhibition laid out in rectangular picture form, is composed of dozens of painted ceramic parts in varied flat and relief shapes. Some actually project from the wall: full vases and cutout fragments, arranged so that there is lots of space between elements that is as much a part of the composition as they are.

Some of the spaces suggest the empty areas between the fancy uprights of a balustrade, a source of fascination for Ms. Woodman. Some of the uncompleted larger elements look like columns in the making. In another vein, wriggly free-form shapes invoke both vegetation and the handles of baroque urns. With its vibrant colors and complex interactions of spaces and shapes, "House of the South" is perceivable as a full-fledged painting rather than just an arrangement of ceramic forms.

Ms. Woodman's decision to become a potter goes back to her teenage years, when she took a high school class and became fascinated with the magic of ceramic glaze, which turned a piece from dull to brilliant when fired in a kiln. She studied ceramics at the School for American Craftsmen at Alfred University, where her first real effort was a custard cup made to fulfill the school's requirement that students create a production item. Her two-year course over, in the early 1950's she sojourned in Italy, where she fell headlong in love with Mediterranean art. In its more Baroque aspects it seems to have provided the basic impetus for her work ever since, no matter how far-flung her inspirations.

By 1975 her painterly style was establishing itself, cued partly by the Pattern and Decoration movement of the 70's, whose participants (including her husband, George Woodman, then a painter) explored a wide range of art from every era. That year she produced what is probably her most popular and original creation, the pillow pitcher, whose form she invented. It was made using two cylindrical pots, each pinched together at one end, then joined mouth to mouth at the other, the joint concealed by a strap of clay leading to a traditional pitcher spout and handle. She still makes them from time to time.

Not meant for function, the generous, puffy shape provides a natural painting surface, exemplified in "Tang Pillow Pitcher" (1981), whose glazed white earthenware face is drippily splotched with dark green and rust-colored paint in Ms. Woodman's broad stroke. Its deliberately casual manner is perhaps influenced by Abstract Expressionism as well as by exposure to Italian ceramics. What makes her work so engaging is the very looseness of her approach to shape and paint application, refreshingly different from the tight intricacies of more punctilious ceramists, including some of her contemporaries.

This approach is seen at its best in her two-sided works in the form of double- or triple-related figures that play on the pot's relationship to the body. Essentially flat cutout pieces that flange off a columnar base, they are painted with different images on front and back, so that you can't say you've really seen them without looking on both sides. In "The Ming Sisters"



by Jessica Kane

At Aloha Florist in Warrensburg, floral
designer John Cleveland, dressed in a Hawaiian shirt,
gathered flowers from a cooler for an arrangement.
“A lot of people tell me they would love to come work in the flower
shop,” Cleveland said. “It can be glamorous, but there's a lot
the scenes that people don’t know about. Flowers don’t just come in

and jump out of the box. There’s a lot of ‘prep’ work.”
Cleveland stripped the bottom leaves off a piece of leather fern.
“This is the common fern most florists use,” Cleveland said.
tons of different greenery out there. Took me awhile to get all the
names down.”
Cleveland held up a handful of yellow flowers.
“You probably think this looks like the Goldenrod that grows on the
side of the road,” he said. “But this is called Solidago or Golden

Astor — It’s basically Goldenrod.”
Cleveland paused as he was arranging the foliage.
“At first I wasn’t into a lot of the woodsy stuff, because where I

grew up, that’s all I had to work with,” he said. “But I like the

earthy tones and working with a lot of different textures.”
Cleveland snipped the leaves and stems off a bunch of white daisies
and red carnations. “These colors are nice for summer,” he said.
“There used to be rules — always use five carnations and three
daisies — not as true anymore.”
For a finishing touch, Cleveland added some ornamental wire to give
the arrangement depth and pizzazz.
Voila. The arrangement was complete in less than three
Cleveland’s interest in flower arranging began when he was just a
boy, growing up in North Creek. He collected wildflowers and designed
centerpieces for special occasions.
If his mother threw away old curtains, he would get them out of the
garbage, and use them for displays, he said. Instead of going to gym
class, his coach would give him passes to go to the art room.
“I was always very artsy,” he said.
Cleveland attended BOCES trade school to study horticulture, but his
father, a retired logger, did not approve. He thought a better
profession for a man would be construction or laying blacktop. But
Cleveland’s teachers encouraged him, saying he had a natural gift for

designing flowers.
Cleveland’s first real job out of school was at a floral shop in
Staten Island. The man who owned it also owned the funeral parlor
next door. There, Cleveland gained much experience designing
After two years, Cleveland returned to the Adirondacks, where he met
his “soul mate,” he said, and after they married, he operated a
floral shop from their home. He also worked from several other
floral shops in town. But wherever he was employed, Raluca Sandler, a
dentist in Warrensburg and a horticulture enthusiast, was his best
“He’s the flower designer extraordinaire,” Raluca said this week.

“He’s amazingly talented.”
Sandler is also experienced in floral design. She routinely worked
over the years in her beloved flower gardens, both at home and at the
During this time, she has won many awards from the local
beautification committee and has been written up in books and
magazines for her creative garden displays.
Cleveland recalled how Raluca launched Aloha Florist and hired him to
help operate the enterprise.
“I was just kidding with her one day, and said, ‘Why don’t you
open a
flower shop,’ and she said, ‘Oh, I can do that!’ and Aloha was
“It’s great,” Cleveland said he enjoyed the business arrangement.

“She lets me have full reign over what I want to
Cleveland keeps up with all the latest floral techniques by attending
trade shows and classes, he said.
“Some people still like the roundy-moundy cookie-cutter arrangements

from the 70’s and 80’s — especially older people,” Cleveland
“That’s what they’ve seen, what they grew up with; and whatever
want, that’s what we do.”
But Cleveland said he prefers more innovative designs.
Cleveland has won many awards for his creativity. He recently won
Best in Show for his Moulin Rouge Christmas tree, which was decorated with champagne glasses, gold
feathers, red balls, and a mannequin dressed as a cancan girl.
“I love what I do,” Cleveland said. “It’s not work. I get here
hours early every day just because I love it — I’m so blessed.”

how to do floral arrangements

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