ART OF FLORAL ARRANGING. POMANDER BOUQUETS
Art Of Floral Arranging
- Reach agreement about an action or event in advance
- Put (things) in a neat, attractive, or required order
- arrangement: the act of arranging and adapting a piece of music
- (arrange) make arrangements for; "Can you arrange a meeting with the President?"
- Organize or make plans for (a future event)
- (arrange) put into a proper or systematic order; "arrange the books on the shelves in chronological order"
- Of flora or floras
- relating to or associated with flowers; "floral organs"
- Of flowers
- Decorated with or depicting flowers
- resembling or made of or suggestive of flowers; "an unusual floral design"
- of or relating to the plant life in a particular region; "characteristic alpine floral elements"
- The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power
- Works produced by such skill and imagination
- the products of human creativity; works of art collectively; "an art exhibition"; "a fine collection of art"
- the creation of beautiful or significant things; "art does not need to be innovative to be good"; "I was never any good at art"; "he said that architecture is the art of wasting space beautifully"
- Creative activity resulting in the production of paintings, drawings, or sculpture
- a superior skill that you can learn by study and practice and observation; "the art of conversation"; "it's quite an art"
art of floral arranging - Paula Pryke's
Paula Pryke's Flower School: Mastering the Art of Floral Design
Paula Pryke is one of the world's leading floral designers and an inspiration to novices and experts alike. Her flower school in London, which attracts students worldwide, provides one of the most sought-after credentials for anyone serious about mastering the art of floral design. Now with Flower School, Pryke offers the essentials of her London program in gorgeously illustrated text, allowing readers to feel as if they have enrolled in her school. Simple step-by-step instructions and clearly defined photographs make even the most ambitious design achievable. Drawing on her signature designs, she discusses design rules, color concepts, equipment, and flower preparation, and then offers a series of formal lessons on hand-tied bouquets, the use of water in containers, wirework, and designing for special events. This impressive collection is rounded out with a flower directory detailing those flowers and plants best suited to Pryke's dramatic approach to floral artistry. Packed with original ideas and invaluable techniques, this comprehensive volume is an inspirational sourcebook for flower arrangers of any level.
High School of the Performing Arts
Midtown Manhattan, New York City, New York, United States The High School of the Performing Arts, formerly Public School 67, is a handsome Romanesque Revival style building originally built to serve a large residential community on the west side of Manhattan, The school is the first known to have been designed by C.B.J. Snyder, Superintendent of School Buildings to the Board of Education for thirty years. Snyder's tenure coincided with a period o': enormous population growth in New York, and he designed a multitude of new schools, many of which are major architectural monuments in their neighborhoods. As the area around Times Square changed from residential to commercial, P.S. 67 fell into disuse. After World War II, however, it was revived and adapted for use by the new High School of the Performing Arts, an innovative high school which combined the usual academic curriculum with professional training in dance, theater, and music. Unique in the country at the time of its founding, the school became tremendously successful, and its graduates include many of the most famous performing artists in the country. New York Public Schools and C.B.J. Snyder From the beginning of massive immigration to the city in the 1880s until the em of the 1930s, New York experienced a population growth that eventually made it a metropolis of close to eight million people. That growth was matched by an unparalleled construction boom and during those decades much of the present city was built. Many of the city's new residents were children, and meeting their educational needs with new school buildings was a major task undertaken by the city government during the last decades of the 19th century and the first decades of the 20th century. According to a 1905 architectural periodical: The magnitude of the undertaking and the reality of the need for these new school-houses is shown by the fact that, even after several years of active building, there are at this time seventy-seven school-houses in various stages of completeness now in charge of the architect to the Department of Education, while contracts for twenty-four more will shortly be made. The Board of Education built all the new schools to the designs of the Superintendent of School Buildings. At first, the Board was responsible only for Manhattan and those parts of the Bronx which constituted the 19th century city; after the consolidation of the five boroughs into the City of Greater New York in 1898, however, its authority was extended over the entire area. From 1884 to 1891, Superintendent George W. Debevoise designed handsome school buildings, many, such as Public School 11 in the Bronx (a designated New York City Landmark), in the then popular Romanesque Revival style. His output, however, was later overshadowed by the thirty years' worth of schools designed by his successor, C.B.J. Snyder. The writer of 1905 quoted above wrote of Snyder: Possibly it was not the best, probably it was not the most economical, certainly it was not the most expeditious way to have all the school-houses the city stood in such sore need of designed and built by the official architect to the Department ofEducation. But since that method had to be followed, it is a matter of wonderful good fortune that the official architect chanced to be such a man as is Mr. C.B.J. Snyder, who not only at the outset showed distinct capacity for his task, but has proved himself a man able to grow as his opportunities opened before him. Mr. Wheelwright in Boston, Mr. Ittner in St. Louis, Mr. Mundie in Chicago...have done excellent service to their respective cities in the way of building school-houses...but they have not had to do their work under the same sort of pressure that has been put upon Mr. Snyder, and they have not had to adopt their architectural treatment to as closely restricted sites. For Snyder, the basic problem in the design of New York public schools was the accommodation of the requirements of students and teachers to small sites which were necessitated by the high cost of land acquisition. He was particularly concerned with making his schools as healthy as possible for the students, and focused much attention on the development of fire protection, ventilation, unilateral lighting, and reduced classroom size. Among his contributions to school planning was the H-plan for floor layouts which provided increased light and better ventilation, and also permitted adequate space for recreation areas. Snyder's concerns also embraced architectural style, and unlike the designs of j many New York schools built after his retirement, Snyder's work was inventive, solid, ' and handsome. His earliest work including P.S. 67, his first known commission, continued the Romanesque Revival style of his predecessor Debevoise. He later moved into Gothic idioms, and was credited with the introduction of the Collegiate Gothic style to New York Public school architecture. Among his finest Gothic style des
Japanese Floral Arrangement, Seattle
AF-ph000063 Photographer: WSAC Staff 04/1995 1995 1 slide ; 1 x 1.5 in. Slides material culture; art and decorative objects; three-dimensional art; flower arrangements; flower arranging; floral arrangements; ikebana Part of the Ikebana Exhibit at the 20th Annual Seattle Cherry Blossom and Japanese Cultural Festival in 1995. Photographed by Dean Wong or Midori Kono Thiel for the Asian Festivals of Washington State project. MAM/GHA/AF
art of floral arranging
The definitive text used for the time-honored Chord Scales course at Berklee College of Music, this book concentrates on scoring for every possible ensemble combination and teaches performers and arrangers how to add color, character and sophistication to chord voicings. Topics covered include: selecting appropriate harmonic tensions, understanding jazz harmony, overcoming harmonic ambiguity, experimenting with unusual combinations and non-traditional alignments, and many more. The accompanying CD includes performance examples of several different arranging techniques. "A no-nonsense, meat and potatoes source of basic and not-so-basic information about everything relating to jazz writing - covers several courses worth of information." - Kenny Werner Pianist, Composer and Author of Effortless Mastery