File:Florists' review (microform) (16062615044).jpg

Title: Florists' review (microform)
Identifier: 5205536_29_2 (find matches)
Year: [1] (s)
Authors:
Subjects: Floriculture
Publisher: Chicago : Florists' Pub. Co
Contributing Library: University of Illinois Urbana-Champaign
Digitizing Sponsor: University of Illinois Urbana-Champaign

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Text Appearing Before Image:
HEBE'S ANOTHER MABTYB. Sends Designs for Criticism. The Eeview has received some photo- graphs, one of which is reproduced here- with, accompanied by the following let- ter: I am sending you pictures of some of the work I have put up. I shall be glad to have you reproduce them in The Review and criticise them, as you have done with others—I want to know what the trade thinks of my work and trust that you will do justice to this oppor- tunity. In reproducing I ask that you leave the name in. Hilary E. Le Page. Criticism Necessarily Frank. I have been requested to make these criticisms and, as criticism is neces- sarily frank and perhaps brutal at times, I hope that the maker of the de- signs, who is positively unknown to me, will at least accept my meaning in a broad sense, considering the interest of those of our trade at large who may read what has been written and per- haps find some benefit. Our desire is only to improve our work by a clearer understanding of art and, therefore, the criticisms are, in the belief of the writer, true, without exaggeration or restraint. It would be hardly fair to the de- signer of the work in the pictures sub- mitted, or to the critic, to proceed with criticism without a few words of ex- planation on some of the simple and es- sential lines of art. Designing is a space, and art is con- cerned in breaking up that space to create a pleasing eye picture of har- mony in material tone and color. Your interest must be attracted to some-object or high light, and all else must be subservient to that principle. Your arrangement must contain a de- cided theory or tell a positive story and, while the general lines must conform and be proportionate to the whole, the high light or attraction must center on some locality and be distinct in detail and assertion. The main form will first hold the great interest, and so you must center your opposition or high light interest on the main body. Where two directions or objects are contrary, the greatest interest will be found at the greatest point of opposi- tion, so at the greatest point of oppo- sition you must place your greatest in- terest or high light and there must re- pose your richest material. You must be always careful that you do not cre- ate a point of interest and fail to qual- ify it. Remember, we are to a great extent copiers of nature. When we use mate- rial in masses for form, our high light or interest point must be in decided op- position, yet all must harmonize in pro- portion and color. Where you have two strongly con- trasting factors a third, well chosen, will harmonize them. Nature groups her subjects and in the grouping of subjects you create your opposing point of interest. So much for Art. We must always consider material. Our aim is to produce, at a minimum of cost in material, a maximum of beauty in design. So we must be careful at all times not to enrich at the expense down and find a bow of ribbon and a number of ends. We have failed to find a high light of sufficient interest, for we find an almost equal attractive value in each of the materials men- tioned. True, there has been care in grouping, but it has been painful in its precision and without conventional form to excuse it. Conventional lines are to be avoided in such a piece as this; they only have place in some of the so-called set pieces.
Text Appearing After Image:
Sprays Offered for Gitidsm. of material, but rather by care in se- lection and art in design. *' Waste not; want not." The illustration contains two clusters. The larger cluster tells the story of a pair of cycas leaves, with a cluster of carnations tied into place by a bow of ribbon. The cycas take separate angles and lead the eye to the cluster, but as direction is the same, we continue on Had the maker lengthened a few of his carnations and given a little of na- ture's freedom in his arranging, he would have broken the symmetrical use- lessness of flower mass and would have gained some opposition to his general outline, and by showing the projection of stems or the reversal of flowers at the tying point he would have given

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