The Designer – Winter 2021

thedesıgner ASSOCIATION OF

PROFESSIONAL LANDSCAPE DESIGNERS

Winter 2021

GIRLY STEEL LEARN ABOUT LIGHTING

TRAVEL INSPIRATION

Journey

editor’sletter Journey On! “When you start on your journey to Ithaca, then pray that the road is long, full of adventure, full of knowledge.”

—“Ithaca,” C. P. Cavafy

W

hen I began this journey as editor of The Designer, I hoped that the road would be long and full of adventure and knowledge. Lucky for me, it has been. Before I pack up my pencil and move on, I want to say a heartfelt thank-you to all our contributors who have helped us publish such meaty and information-packed issues over the past six years. You’re all so amazingly talented!

We wouldn’t have a Designer magazine without our wonderful art director and designer Marti Golon. The same goes for my associate editor Jenny Peterson, who kept us all organized and on task for the past three years. Claire Splan and Billie Brownell, our copy editors, made sure we kept mistakes to a minimum and our voice professional, and for that, I’m so grateful. I have appreciated the support and commitment of the APLD board and staff providing a platform for long-form exploration of ideas in the world of landscape design.

Please stay in touch! I’m @katie_gardenofwords on Instagram and you can always reach me at katie@thegardenofwords.com. I’ll leave the path light on for you.

K AT I E E L Z E R - P E T E R S

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PH OTOG RA PH BY KI RST EN B OE HMER PH OTOG R A PHY

Let’s take one more journey together, shall we? No matter where your road leads, you’ll find plenty to take with you from this Winter issue. Several of our contributors wrote quick tips to share with you, and you can read them in the Design Roundup. Grace Hensley offers ways to grow your business using Instagram, and Bruce Dennis is back with more ways to use lightning in the landscape. Jo Ellen Meyers Sharp profiles the creator of Girly Steel, and Mariannne Willburn invites us to have a tropical fling next spring. Finally, Carolyn Mullet takes us on an armchair journey through private gardens of Europe with an excerpt from her book Adventures in Eden.

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contents WINTER 2021 8 PRESIDENT’S MESSAGE 10 DESIGN ROUNDUP Tips from Contributors to The Designer 14 BUSINESS Build Your Business with Instagram

BY GR ACE HEN SLEY

20 PRODUCT ROUNDUP Landscape Lighting for Designers

BY B R U CE DEN N I S

28 IN THE FIELD Girly Steel

BY J O ELLEN MEYER S SHA RP

36 BOOK EXCERPT Adventures in Eden

BY CA R OLYN MU LLET

46 DESIGN 101 Tropical Plants

BY MA R I A N N E WI LLB U R N

54 INTERVIEW Lisa Nunamaker

BY KATI E ELZER -PETER S ON THI S SPR EA D:

Boxwood Circle: The Boxwood Garden uses a graphic series of overlapping concentric circles around water basins, framed by a double row of pleached Tilia cordata. More on page 46.

PHOTOGR A PH BY CLA I R E TA KACS

ON THE COVER : GOAT I N FI ELD: ESMER A LDA SCUL PT URE A N D PHOTO BY J OA N I E DR I ZI N

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contributors

Bruce Dennis

Product Roundup: Lighting p. 20 Bruce Dennis is celebrating his fortieth year in the lighting industry as a third-generation lighting specialist who was groomed in the lighting industry.

Bruce started his career in his family’s lighting business and worked parttime throughout his college years. Bruce’s company was one of the first to introduce solid brass fixtures with natural finishes as well as LED landscape lighting products. Today Bruce’s company, Lightcraft Outdoor, continues the tradition and leads the industry with new innovative products.

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Grace Hensley

Business: Build Your Business with Instagram p. 14 Grace Hensley is the owner of Fashion Plants LLC (@fashion_ plants), a professional garden photography and business strategy company that supports the visual presence of fine gardeners and landscapers through print and digital media. She has spoken at FarWest, Cultivate, and Garden Communicators International about using photography, and social media in your business. She is a Certified Professional Horticulturist and continues to work in the nursery trade.

Jo Ellen Meyers Sharp

Marianne Willburn

Jo Ellen Meyers Sharp is an award-winning writer and editor.

She’s a member of GreatGardenSpeakers. com, a garden coach, and has a four-season container planting business. Past president of GardenComm, she’s a self-described hortiholic who confesses her eyes are too big for her yard. Jo Ellen trials dozens of plants each year and works seasonally at a large, independent garden center in Indianapolis. She blogs at hoosiergardener. com.

Marianne Willburn is a speaker, columnist, and author of Tropical Plants and How to Love Them (2021) and Big Dreams, Small Garden (2017).

She is an opinion columnist for The American Gardener, a writer at the team blog GardenRant, and frequently contributes to other digital and print magazines such as Better Homes & Gardens. She writes from her home and garden in rural Northern Virginia.

In the Field: Girly Steel p. 28

Design 101: Tropical Plants p. 46

>>Click bolded text for links apld.org

BR ID L E T R A I L S G A R DE N

BY S PR I N G G R E E N WO RKS , L LC IN B E L L E V U E , WA WON R E S I D E N T I A L G OL D 2 02 1 A P L D INTE R N AT I O N A L D E S IGN AWA R DS

thedesıgner EDITOR IN CHIEF Katie Elzer-Peters ART DIRECTOR

Marti Golon

ASSOCIATE EDITOR

Jenny Peterson COPY EDITOR

Billie Brownell EXECUTIVE DIRECTOR

Denise Calabrese, CAE COMMUNICATIONS DIRECTOR

Michelle Keyser

EVENTS DIRECTOR

Lori Zelesko

ASSISTANT COMMUNICATIONS DIRECTOR

Courtney Kuntz

CERTIFICATION & CHAPTER ASSOCIATE

Kelly Clark

FINANCE ADMINISTRATOR

Jennifer Swartz

DATABASE MANAGEMENT ADMINISTRATOR

Leona Wagner

>>Click our names to email us!

For information on advertising in The Designer, contact ads@apld.org >>Click here for our submission guidelines. apld.org

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president’sletter New Opportunities Ahead!

T

here’s a song that I remember hearing as I was growing up, and I often think of it now in my adult years. It starts with the phrase: “Well, I wouldn’t take nothin’ for my journey now …”

Though its lyrics are intended to convey the singer’s spiritual convictions, I believe many of us would say that the paths that led us to where we are now were just what we needed to prepare us. Of course, there were always times when we wished things had turned out differently or when life didn’t go as we planned, but if we maintain the perspective that the way we addressed that bump in the road was more important than the bump itself, perhaps we are all the better for it.

What I love most about retrospection is that we have a better perspective to recognize why good or bad things met us on our paths. We might have even made mental notes of the context of those events to help us—or others—take full advantage of the good things or better avoid the bad. I think most of us in the design practice take great effort to call upon our experiences to inspire, educate, and accommodate our clients and colleagues to join us on our journeys for short stints or longer stretches. I also like to think that we relish being on the receiving end of others’ inspiration, education, and accommodations, too, because they enrich our own journeys.

I always appreciate hearing from professionals about the events that brought them to where they are. And if you know me and what I’m up to these days, you would be correct in assuming I never planned to work in a software company or be the president of a national association for landscape designers. This is why I pass along the same piece of advice a dear alum from my college shared with several other soon-to-be graduates and me: You may have a vision for what your future should look like, but things will happen in your journey that you didn’t see coming. If you remain open to new opportunities, and seriously consider those that take you out of your comfort zone, you will be extremely pleased where your future path will take you, and you won’t regret it.

Here’s to the journey, and thanks for being a part of mine!

ERIC GILBEY, PLA 8

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designroundup

A wild-looking prairie garden by Benjamin Vogt of Monarch Gardens

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Tips from Contributors to The Designer

During the past six years we’ve had dozens of contributors to The Designer. Each has shared hard-won personal knowledge, has taken the time to interview their peers, or has dived deeper into a meaty, designfocused topic. At the close of another year in practice, we asked some to share their tips and advice for new and experienced designers. Here’s what they shared.

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I design natural/wild-looking prairie gardens, and I’ve learned to plant more of something in a mass or drift. This isn’t so much a design strategy as it is a survival strategy: weather, rabbits, or neglect will take out a few coneflowers so it’s best to plant extra—and then tell the client you did.

BENJAMIN VOGT monarchgard.com

>>Click names for link to their websites

GreenHeart Garden Design by Cathy Carr

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It’s easier to capture site data when you’re relatively comfortable. Bring a table with you during your site inventory/analysis visits. We made a tabletop that screws onto repurposed transit legs once we arrive at a site.

I can easily carry the entire table from the front to the back or side gardens.

CATHY CARR, FAPLD, CPLD greenheartgardendesigns.com

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Embrace tech! In addition to keeping my website up to date, I use Plantmaster to share plant files with clients, send contracts via DocuSign, and print my Zelle and Venmo contact information on my business cards and invoices. Keeping up with the latest business tools over the years has helped me improve my client communication.

An APLD event

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The colleagues whom I have met along the way are the best part of being an APLD designer.

They are creative, smart, and generous. My tip is to ask for their ideas and learn about their work.

JUDY NAUSEEF, FAPLD judynauseef.com

➸

SUSAN MORRISON celandscapedesign.com

Plantmaster interface apld.org

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Backcountry Backyards by Genevieve Villamizar

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Cherish the journey. At age fifty, I chuckle at my early ambitions of making a name for myself, publishing a coffee-table tome, and being featured in a magazine.

Our life as designers is to keep learning, studying, and honoring and celebrating the ecosystems around us as we bring our versions of them to the built environment.

Compare yourself not to other designers or landscape architects, but, to your earlier work in your own journey as an artist, naturalist, ecologist, or storyteller.

Are your clients happier? Are you changing their lives? Are they becoming stewards, foodies, naturalists themselves?

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Believe it or not, follow the rules (yes, that “r” word) rigorously. The human eye relaxes when viewing order. But the heart relaxes in the loose, ever-evolving surprises Nature bestows to every project.

Revel in her rambunctious ways—the bones of your studied designs are the springboard of her feral spirit.

Design for life, connection, and meaning.

Design for you. Design for delight— including your own delight, in what you do, discovering anew each day the artistry of sunlight, composition, cycles, seasons, and emotion. All of them!

GENEVIEVE VILLAMIZAR backcountrybackyards.com

designroundup 6

My suggestion is to embrace, learn, and apply the benefits of today’s unique opportunities:

The advent of LED lighting and other energy-efficient technologies has helped our clients save energy and reduce costs by utilizing advanced resources.

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Use social media to your advantage; it’s low cost and very effective.

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Outsource specialties that are cumbersome and time-consuming.

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Learn the art of graphic presentation and make your firm stand out from the rest.

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Don’t sweat the small stuff.

Fix small issues and move on.

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Join a professional association for everything from collaboration, payroll and accounting, legal, and human resources.

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BRUCE DENNIS lightcraftoutdoor.com

Lightcraft Globes >>Click names for link to their websites

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business

Build Your Business with Instagram

BY G R AC E H E N S L E Y

When UK-based gardener Andrew Timothy O’Brien (@andrewtimothyob) started sharing his words about the restorative effect of the natural world on our busy lives, he knew that his tweets could reach a wider audience beyond Twitter. He started sharing his observations on his “Gardens, Weeds & Words” blog and podcast and then to his Instagram account (@andrewtimothyob) to connect a community of new and passionate gardeners. It was clear to him from the beginning that social media is a business tool that is great to build relationships.

Instagram has opened big opportunities for Andrew. Beyond providing local maintenance services, he found his ideal demographic online and now virtually coaches new gardeners from around the world. Andrew’s success is a result of steady progress, taking courses such as The Insta Retreat (@me_and_orla) and experimenting with this app, which is always changing.

Because of its visual focus, Instagram is an ideal application for our industry. The different ways images are displayed make it seem as if there are three apps in one. The square-formatted Grid is always waiting patiently as new users find you. You can use it to craft a short story about a new-to-you plant or successfully completed projects.

The grid becomes a microblog to supplement your website and show curious customers that you are open for business. When you regularly invest the time to write a few captions and hashtags to go with your snapshots, posting in the moment becomes easier. ➸ 14

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>>Click bold text for links

I love Andrew’s steady advice on plant care, his wry humor, and the beautiful, clear images of flowers just “bunged in a vase.” It becomes an easy way to talk about a particular plant, give a shout out to another business, and celebrate the joy of a small moment. A simple hashtag encourages others to join in the fun.

P H OTO C R E D I T: A N DR E W TI M OTH Y O ’B RI EN @ A N DR E W TI MOT HYO B

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business SHORT-LIVED CONTENT REMOVES FEAR OF PERFECTION

A simple arrangement of Hellebores floating in an ornamental dish brings the garden inside and is easy content to create to inspire your readers.

Any activity that encourages participation is a great way to connect with and build community.

Instagram Stories is almost an entirely different application because your images and videos disappear after 24 hours.

Seattle-area container designer Cindy Funes (@gardenrevelry) uses Instagram Stories effectively as she shows her behind-thescenes work of visiting wholesale growers, packing her van, showcasing her fantastic seasonal crew, and, of course, sharing images of the luscious, completed installations. In our busy, hands-on workday, it can be hard to plan a perfectly styled view of our business, but that’s the point! Our audiences crave authenticity and want to see the real life of running our business.

Cindy relishes Stories because they allow her to experiment with different ideas P HOTO CREDIT: C I N DY F UN ES @G A R D EN R E V E L RY and get feedback from followers.

“Stories don’t weigh me down quite as much. I don’t worry about whether the photos are perfect, or pertinent to the main marketing objective. It’s that ‘good enough’ attitude that helps me remain consistent.”

EMBRACE NEW TOOLS BUT MAINTAIN YOUR MESSAGE The third Instagram app-within-an-app is the short-form video format of Reels, based heavily on the dance-craze success of TikTok. When Adam Mosseri, the head of Instagram, tweeted on June 30, 2021, that the app would favor videos and shopping over still photos, the internet went nuts with outrage. It can be incredibly intimidating to see success correlated with dancing to music.

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Look for content ideas throughout Ignore the statistics. “Chasing trends is your day. “Before” and “During” shots not a productive use of your time,” says are even more important than the green-industry business strategist Leslie glamorous "After” photos because you can talk about your process, the people Halleck (@lesliehalleck). Because the doing the work, and the transformation algorithms are always changing, you’ll for the client. waste time scrambling to keep up.

P H OTO C R E DI T: G R AC E H E N S L E Y @ FAS H I O N _ P L A N TS Andrew advises us, “You just need to have self-belief and keep on doing your thing.

In the end, your followers respond to you consistently showing up and being present for them.”

My recommendation to using Reels is to embrace the video format but use it as a tool to tell your business’s stories. People still want to know about what you do and how you do it. Talk to the camera, pan across your jobsite, show viewers what you do. I’m a big fan of a 30-second escape; a beautiful garden scene with a bubbling fountain makes me wistful for my own moment of Zen. ➸ Could you build that for me? >>Click bold text for links

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business USE CATEGORIES TO ORGANIZE YOUR CONTENT Instagram is more than a source of entertainment; it’s a marketing tool.

It provides different ways to talk about your business with current and future customers. If it is intimidating to know what to say, your marketing strategy should cover these top categories:

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BEHIND THE SCENES

Customers are insanely curious about places to which they don’t have access, so show that wholesale grower where you pick up plants or that stone and paver place. You can also show your studio where you brainstorm ideas or your fully loaded work truck ready for the day.

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ABOUT YOU & YOUR CREW

What motivated you to start your business? Who are your coworkers and why are they amazing (even if it’s your dog)? How do you relax after work?

By adding personality to your feed, people can connect with you.

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INSPIRATION

Share the work of others in your stories (or repost to your grid with permission) and build a community that inspires viewers. You provide

value when you share good ideas, demonstrate your own experiments (even if they fail), and help others succeed in tiny ways.

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TUTORIALS & HOW-TOS

Consider shooting a time-lapse video of a patio installation or post a photo of useful tool that makes an installation easier. Some motivated DIYers will be happy for the tip; others will be in awe of your skills and sign you up.

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UNEXPECTED BENEFITS

Show how your work transforms your clients’ lives by solving an annoying problem or making something beautiful. Share a testimonial from a happy customer. Let your audience imagine their own beautiful spaces, and when they’re ready to buy, you’ll be the only business that can build it for them.

PEOPLE BUY FROM PEOPLE, NOT FROM CORPORATIONS The key to social media is engagement. Instagram provides powerful ways to interact with your audience. Cindy doesn’t just flip through her feed; she sets aside time to read through posts, give meaningful replies, and ask questions.

“I’ve found that building community has been hugely beneficial to my business and professional development.” In Stories, it’s easy to comment privately with an emoji or short text to let people know they’ve been seen and heard. By building her community of homeowners and landscape professionals, she has sparked conversations with people across the nation giving inspiration for new plantings and getting encouragement for growing her business.

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Since a garden is naturally photogenic and an endless source of inspiration, Andrew Timothy O’Brien pushes himself to improve his photography and share his daily practice. Adding behind-the-scenes images such as potting up plants shows the person behind the business. Including his hands in the frame reinforces the human connection. P HOTO C R ED IT: A N D R EW T I M OTH Y O ’ B R I E N @ A N D R E W TI M OTH YO B

BUILD YOUR FOUNDATION FIRST If I had told you a few months ago that Instagram (and its parent company, Facebook), could go away in an instant, you wouldn’t have believed me. But when Facebook suffered a 5-plus-hour outage on October 4, 2021, many companies lost the ability to directly communicate with their customers.

Ensure you have a solid digital foundation with basic contact information on your own website and then add a comprehensive “About” page with photos of you and your crew. A few before-and-after photos will demonstrate your services but garden-making is a slow process. By layering social media, you’ll be showing people your current projects, your thought processes, and what makes your business unique. You’ll become real—and the only solution to their problems.

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productroundup Relaxing and entertaining areas are lighted for beauty and safety.

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Landscape Lighting

FOR DESIGNERS

productroundup A variety of landscape lighting complements the residence and highlights the plantings.

GOALS FOR LANDSCAPE LIGHTING

BY BRUCE DENNIS

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andscape lighting has changed considerably over the last few years. With the advent of new LED technology, our industry has become one of the fastestgrowing segments in the home-improvement marketplace. This was especially noticeable in 2020 as indoor gatherings moved to the safety of outdoor spaces.

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Safety

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Security

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Beauty

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Entertainment

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Energy Efficiency

Proper selection and effective use of lighting take a beautiful landscape design and illuminate it into a masterpiece. Use this guide to begin planning—and remember, there are many industry seminars available through landscape lighting manufacturers and suppliers to learn more and refine your design.

THINK LIKE AN ARTIST When you’re developing a lighting design, think like an artist creating a beautiful painting—the lighting should be balanced and flow from zone to zone, with the outline of the property framed with light for visual comfort. Aim for three levels of intensity with softer light levels in the front, medium light levels in the center, and brighter light in the back, avoiding glare at all costs.

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Then look at the function of the lighting: What do you want it to do?

What is its purpose? Once you identify those, the application and design flow. ●

Accent & Uplighting

Trees and vertical material ●

Area & Path Lighting

Landscape and pedestrian walkways Plant, Shrub, & Wash Lighting

allowing the light to shine onto the ground ●

Pendant Lighting

Accent hanging fixtures for patios, pergolas, and trees Step & Deck

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Indirect accent lighting

Safety and accent lighting for stairs and hardscape areas

Large Tree & Area Flood Lighting

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MR16 or PAR36 projected beam ●

Down Lighting

Fixtures mounted in trees or on structures

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Underwater

Ponds and waterfalls (landscape lighting is not used for swimming pools)

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String Lighting

Lighted strings create mood, ambiance, and entertainment value ●

LED Tape Lighting

Linear applications such as stairs, columns, BBQ areas, and seat walls ●

In-Ground Lighting

Below-grade fixtures allow the effect to be seen but not the source of light ●

Hardscape Lighting

Designed for accenting stone, concrete, and masonry detail ➸

Functional stair lighting adds style as well as safety.

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productroundup CREATE SPECIAL EFFECTS WITH TECHNIQUE AND PLACEMENT Sometimes what you’re after is a particular effect rather than a technical or safety function, and a carefully planned landscape lighting design can deliver on all fronts. These are some of the most popular and commonly used lighting effects—and why we love them.

MOON LIGHTING Referred to as

downlighting trees; cool colors mimic a moonlight effect

CROSS LIGHTING Highlighting landscape material from two angles, crossing the light pattern for a wider viewing perspective

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GRAZING Fixture placement is directly in front of a multifaceted wall, allowing the light to graze up and illuminate the hardscape

BACKLIGHTING / SHADOWING Fixture placement is behind a plant creating a different viewing perspective

SILHOUETTING Fixture placement is directly

MIRRORING Fixture placement is in front of

SHADOWING Fixture placement is in front of

the specimen and bounces the image back on to water

in front of a plant and against a wall, creating a silhouette of the specimen being lighted

the specimen reflecting the image onto a flat surface, creating a shadow effect apld.org

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productroundup Improper spacing—either too far apart or too close together—creates an underwhelming effect or, worse, a cluttered appearance. Just as with plant spacing, follow the recommended guidelines for spacing landscape lights.

PATH LIGHTING

Typical Spacing

Small Path

Every 3–5 feet

Medium Path

Every 5–7 feet

Large Path

Every 7–8 feet

Lighted globes create simple drama in an entertainment area.

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❧ Overhead bistro lights cast a festive glow on the surrounding landscape.

SHRUB & PLANT LIGHTING Typical Spacing Small Plant

12 inches from material

Medium Plant

18 inches from material

Large Plant

24 inches from material

PRO TIP: Plan a nighttime demonstration for your client to gain design approval. Demo a few lights to validate the client’s expectations. Lighting is both art and science, and a few adjustments in the beginning will pay off with a satisfied client and project integrity.

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Esmeralda was purchased at the Morton Arboretum juried art show; it now stands in an Illinois field.

PH OTO CREDIT: J OANI E DRIZIN

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inthefield

Girly Steel

BY JO ELLEN MEYERS SHARP

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lants continue to dominate the landscape scene, but many designers and gardeners want a little something special, something to grab the eye and convey an artistic bent— such as outdoor art. And when choosing a piece of outdoor art, there’s not just the design to consider. There may be other factors, too, such as weather durability, sustainable practices, and if it uses recycled materials.

Some sculptures seem to fit in a variety of settings, especially if there’s something natural about it. Girly Steel, the artistic persona of Joanie Drizin, relies on her observations of nature as inspiration for her steel sculptures. Made only with scrap pieces of steel and rebar, she salvages much of her material from a nearby steel yard.

The abandoned lot at Mariners Harbor, Staten Island, before the community clean-up.

Joanie Drizin, aka Girly Steel, creates metal sculpture at her Noblesville, Indiana, studio.

P H OTO C R E D I T: J O E L L E N M E Y E RS SHARP

Drizin has been cutting metal and welding sculptures for twenty-five years.

Her journey as an artist started as a graphic designer and commercial artist in Cincinnati, Ohio. When she moved to central Indiana, she spotted information for a welding class and took art classes at the Indianapolis Art Center. It has set the course for her professional life.

“This is an athletic kind of art, and I was always into sports,” Drizin said, as she and her son, Josh Drizin, loaded Esmeralda, the metal sculpture, onto an open-bed trailer for the Illinois trip and its new home. ➸ >>Click bold text for link to website

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inthefield Of course, she was the perfect choice to bend metal into football-like sculptures for twenty concrete containers in downtown Indianapolis for the XLVI Super Bowl in 2012. The stylized footballs were inspired by the Vince Lombardi Trophy, Drizin said.

The popular Indiana artist travels the country to exhibit her sculptures including the Midsummer Festival of the Arts at the John Michael Kohler Arts Center, in Sheboygan, Wisconsin; the Beaux Arts Festival of Art at the University of Miami’s Lowe Art Museum in Coral Gables, Florida; and the Penrod Arts Fair at Newfields in Indianapolis, Indiana.

The sculpture Banana Peels frames Girly Steel’s booth at the Penrod Arts Fair in Indianapolis. P HOTO C R ED I T: JOA N I E D R I Z I N

Her travel was predictably stalled during the COVID-19 pandemic, but Drizin has slowly returned to the road in late summer 2021 for one of her favorite events, the always-soldout Wine and Art Walk at Morton Arboretum in Lisle, Illinois.

The shows are where she connects her fans, with many traveling miles to buy her art. Donna Berchem traveled from her New Holstein, Wisconsin, home with an artist friend who was exhibiting at a Wisconsin art fair. When she saw the Girly Steel pieces her friend bought, “I was drawn to them,” but she had to wait a year to go to the show to buy art for herself.

“Now, every year in mid-July, I pack up the truck and head out to acquire additional pieces for my collection. “Destination . . . Girly Steel!” she said. Berchem has thirteen Girly Steel pieces and already knows what she wants to buy in July 2022.

“I love the simple, nature-inspired, rusty yet funky designs. Among her favorites: Bubbles, Tree Rings, Seaweed, and Calder Reeds. “I think Seaweed is my favorite. ➸ 30

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Colorful metal balls adorn a landscape.

P H OTO C R ED I T: TH E SATTE RFI ELDS

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Exhale Pipes stands tall in a Miami, Florida, garden.

PH OTO CREDIT: JOANIE DRIZIN

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inthefield Snow cover highlights Reeds in the winter garden.

P H OTO C R ED I T: MY R N A A N D RIC HA R D F I EL DS

I have a huge yard in the country where I can admire year-round my many clusters of metalwork from Girly Steel. The pieces especially look fantastic with snow laid upon and clinging to them on a beautiful, sunny, wintry day.”

Drizin said she loves the whole process of creating her art “especially when completed, and I really like it. Most of all, I like driving around and seeing one of my pieces in people’s gardens.” ➸ apld.org

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inthefield OUTDOOR ART TIPS FROM APLD DESIGNERS Landscape designers play a vital role in helping their clients make the right—and most effective—selections, and two of our APLD designers weigh in with their thoughts on selection, placement, and scale.

Irvin Etienne, curator of herbaceous plants and Horticultural Display Coordinator for the Garden-Newfields (Indianapolis Museum of Art), was gifted the Flamingo sculpture for his rural tropical garden. This piece has knobby rebar knees, and Irvin says he loves that “it isn’t an attempt at exact lifelike replication, and yet not overly stylized.”

When incorporating art into the landscape, Irvin recommends, “Make sure it reflects you. Your style. Your taste,” he said. “Don’t be afraid to move it around.

That perfect spot may not be so perfect. Or you may just need a change. If you live where it gets very hot or very cold, place it where you can enjoy from inside, as well as when you’re in the garden. If you live where it gets drab in the winter, consider a piece with some bright color for you to enjoy.”

Jan Kirsh, a landscape designer, sculptor, and owner of Jan Kirsh Studio on Maryland’s Eastern Shore, advises considering the placement of the piece to achieve maximum impact. “When you chose a piece of art, you need to consider the scale and style” so that that fits in its designated space, the APLD member said.

Flamingo is right at home in this rural Indiana tropical garden.

P HOTO CR E DI T: I RV I N ETI E N N E

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Kirsch also recommends working to complement the architecture or period of the home as a good and effective selection respects the neighborhood, especially if it’s in public view. And for particularly striking or large pieces, consider illumination to highlight the artwork’s drama.

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The Sun God graces gardens in Miami, Florida, and Saugatuck, Michigan.

P H OTO CRED I T: JOA N I E D RI Z I N

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Adventures in 36

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EXCERPT FROM ADVENTURES IN EDEN: AN INTIMATE TOUR OF THE PRIVATE GARDENS OF EUROPE © COPYRIGHT 2020 BY CAROLYN MULLET, PUBLISHED BY TIMBER PRESS, PORTLAND. USED BY PERMISSION OF THE PUBLISHER. ALL RIGHTS RESERVED.

bookexcerpt B Y C A R O LY N M U L L E T

WALES DYFFRYN FERNANT GARDENS FISHGUARD, PEMBROKESHIRE

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hen one surveys the gardens at Dyffryn Fernant, it’s impossible to believe that the property was a veritable wilderness when Christina Shand and David Allum moved there in 1996.

Impenetrable brambles, blackthorn, and Japanese knotweed covered the neglected six-acre farm. Christina hoped to create modest gardens, with prized plants in the front and vegetables in the back, but when she began clearing the land, she discovered it was half rocks and half bog.

Thus began her resolute journey to discover how to garden on this challenging land.

Located a mile from the Irish Sea, the windswept property is located under the Preseli uplands in southwestern Wales, notable for being a Where two paths cross in the middle of the Bog Garden is source for some of the gigantic stones used at a crisp obelisk, a reflective Stonehenge. The vertical accent amid a vigorous garden, which planting of canna, darmera, dierama, and zantedeschia. surrounds the P HOTO CRE D I T: C L A I R E TA KAC S couple’s stone farmhouse painted coral pink, was made with deep respect for this particular spot. The design is contemporary yet attached to the past, naturalistic yet in places stylized and exotic.

“At no point did I want to ‘lay down’ a garden on the surface,” says Christina. “This garden has been designed within the spaces already offered by the old farm walls, the presence of a wild marsh, and the fact that it was overlooked by uncultivated rocky slopes.” ➸ >>Get the book! Click here apld.org

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bookexcerpt During the past twenty-four years, Christina has developed eighteen separate garden spaces,some with drolly open-ended names, such as The Between and The Beyond. The Front Garden is less ambiguous.

Hugging the rose-draped house, the garden is densely planted in radiant colors and robust textures. Plants spill from every nook and cranny, and dozens of pots add seasonal color with plants that would not otherwise thrive here. A waisthigh, dry stone wall defines this inner entry garden bisected by a cobble-and-stone path leading to the front door. On top of the wall, a carved wooden sculpture by the late John Cleal shares space with glass fishing floats and smooth, round stones. Off to the side is a small, circular patio paved with irregular stones, with a portly copper brandy still in the center, which the couple converted into a water basin. In late summer, the garden features the brilliant jewel tones of potted dahlias.

SCOTLAND BROADWOODSIDE GIFFORD, EAST LOTHIAN

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bout twenty-five miles east of Edinburgh, Broadwoodside is situated in the middle of a crazy quilt landscape of fields and woods.

When Robert and Anna Dalrymple bought the property in 1997, the collection of dilapidated low stone buildings, some dating back to 1680, with a farmhouse, barns, and assorted sheds, were loosely arranged in a rectangle with openings to the surrounding fields. A few years later, after an extensive renovation, the couple had created an award-winning home and a garden filled with sharp geometry and sly wit.

During the renovation, Robert—who designs books for artists, museums, and botanical gardens and knows a thing or two about proportion and balance—drew up a comprehensive garden plan incorporating formal elements with a contemporary twist. The one-and-a-half-acre layout was partly restricted by the footprints of existing buildings and the many stone walls that surrounded them, but Robert’s love of symmetry ruled the rest. His simple, straight-lined design featured some bold, geometric shapes and occasional focal-point flourishes. A central axis extended from 38

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one end of the garden to the other, creating a strong, rational sense of order on the narrow site. And that, with almost no changes, is what was built.

The Upper Courtyard is based on a grid of twenty-five squares filled with alternating materials.

A well-crafted aviary for the couple’s African gray parrot, William, sits in the middle.

Because winter was coming, the couple felt some P H OTO C R E DI T: R AY COX P H OTO GRAPHY urgency regarding where to start the garden’s construction. For the Dalrymples, the most important aspects of the plan were the two courtyards at the heart of the rectangle.

Because many of their home’s windows overlooked the courtyards, these areas would need to be engaging at all times of the year, including during the long, gray winter months. The Upper Courtyard became a striking graphic design ➸ apld.org

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played out on the ground plane. Divided into a grid of The Boxwood Garden uses a graphic series of twenty-five equal squares, the upper courtyard is a giant overlapping concentric checkerboard, each square filled with grass, low evergreen circles around water plants, or granite setts. Eight of the planted squares contain basins, framed by a double row of pleached Acer platanoides trimmed into lollipops, with each trunk Tilia cordata. P H OTO CRED I T: featuring a metal label that drolly misidentifies the tree as C L A I R E TA KAC S a walnut, lime, willow, or birch. Near the center of the grid is the pièce de résistance, an impressive aviary for William, the Dalrymples’ African gray parrot. Off to one side, a loggia is painted a cheery coral color with an inside wall inscription: “THE WRITING IS ON THE WALL.” This garden is surely amusing, even in bad weather.

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bookexcerpt SCOTLAND HOPETOUN HOUSE WALLED GARDEN SOUTH QUEENSFERRY, WEST LOTHIAN

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opetoun House is situated on the south shore of the estuary of the River Forth just before it flows into the North Sea. Its stately colonnaded façade overlooks a dignified eighteenth-century landscape of great formal lawns, elegantly curved drives, and dark woods. Although Edinburgh is only twelve miles away, this estate is tucked into the quiet countryside, surrounded by farmland and small villages.

On the southeast side of the house is the walled garden that once served as a kitchen garden. The tall brick walls enclose more than thirteen acres and were built in the early 1700s. But during the last dozen years, the transformation that has occurred inside those walls is very much of the twenty-first century.

In 2006, the Earl and Countess of Hopetoun were charged with overseeing the 6500-acre property after the Earl’s father unexpectedly stepped aside. The change from living as a relatively normal family in London to inhabiting one of the grandest houses in Scotland naturally required some adjustments.

The 5000-square-foot Old Rose Garden was the first to be revamped. Lady Hopetoun designed an undulating ridge-and-furrow pattern, with little rivers of gravel running through to enable access for weeding. The center of the garden is anchored with boxwoods clipped into balls and cones, surrounded by white flowers that begin in spring with early hardy geraniums and end in autumn with asters.

Throughout the blooming season, a tapestry of white and green develops with thalictrum, filipendula, asclepia, and Eryngium yuccifolium.

In another garden room is a modern Boxwood Garden of repeated concentric circles surrounded by pleached Tilia cordata. This garden’s design demonstrates that Lady Hopetoun understands the value of simple spaces as well as those ➸ apld.org

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bookexcerpt that are extravagantly floriferous. She has also created a Beech Walk, Vegetable Garden, Cutting Border, Cottage Knot, and a new arboretum. Because the Walled Garden area is so large, she will undoubtedly create more gardens in the future.

SCANDINAVIA MARIANNE FOLLING’S GARDEN RØNNEDE, ZEALAND, DENMARK

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t takes vision, persistence, and a crusading spirit to be a pioneer for a new kind of gardening in your region, particularly if you stake your livelihood on it. Danish designer Marianne Folling started with a love of perennials and a deep curiosity about the myriad possible combinations of perennials and grasses. Today, she fully embraces naturalistic planting and the wildness that goes with it. In Denmark, this is not only unconventional, but somewhat radical.

In 1999, she and her husband, Jesper Petersen, moved to the countryside with the intention of creating a larger garden and keeping animals. Near the house was an existing garden, designed in an organic style with shrubs, trees, and a pond. But this garden didn’t suit Marianne. She says, “I was strongly inspired by English gardens, especially gardens that had formal elements such as taxus and buxus [hedges and clipped domes] combined with perennials in a more wild and natural style.” Instead of removing the existing garden, the couple made a new one the next year out of a one-and-a-half-acre barley field on the property.

By this time, Piet Oudolf’s work with grasses and naturalistic plantings was becoming better known. Marianne saw her chance to create a garden in the Oudolf style, when she and her husband added a modern wooden deck on the sunniest side of the house.

After removing the original garden around the deck, she planted a new garden, where grasses such as Calamagrostis × acutiflora ‘Overdam’, Leymus arenarius ‘Blue Dune’, and Stipa calamagrostis take center stage starting in August. Animated and feathery, these grasses bring an effervescent end to the gardening season.

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SPAIN SON MUDA FELANITX, MALLORCA

A gazebo made from rustic rebar adds a graceful profile on a misty morning in the Perennial Garden.

P H OTO C R E DI T: M A R I A N N E FO L LI NG

H

élène and Christian Lindgens hadn’t intended to buy a house when they traveled to Mallorca from their home in Zurich to play golf in the winter of 2005, let alone take on a rural ruin. But Christian became enamored with a dilapidated structure near the small town of Felanitx, with the idea of turning it into a vacation home. After the renovation of the house was finished, it fell to Hélène to figure out what to do with the nearly four acres of overgrown, scrubby land that surrounded it.

Today, upon entering Son Muda, visitors are greeted by a boxwood parterre in the shape of a Tibetan endless knot, sited peacefully under the shade of tall trees.

This is perhaps a prelude to the pattern-making and plant-shaping they will see elsewhere in the garden. Close by is the Morning Terrace, crowned by an airy loggia made of rusty steel and nearly enveloped in wisteria. ➸ apld.org

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Other rooms include the concentric-circled Celtic Cross garden, with each plantfilled ring displaying a different flowering or silver-leaved selection; the spare Mirror Garden, with twin aviaries at either end of a narrow reflecting pool flanked by variously sized ball-shaped plants; and the Pool Garden bordered by olive trees, with a sleek infinity pool and a stone pavilion. She has also created a gridded Olive Grove, a Herb Garden, a linear Labyrinth, a Forest, and more.

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bookexcerpt The narrow pool in the Mirror Garden is flanked by arrangements of sculpturally shaped plants that lead the eye to an aviary.

P H OTO C R E DI T: F E R D I N A N D G R A F LU C K N E R

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design101 MOVING BEYOND CLICHÉ WITH TROPICAL PLANTS

BY MARIANNE WILLBURN

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t is said that there is no better proselytizer than a convert. Who better understands the journey to appreciation than one who has walked that path reluctantly, only to find themselves running at the end?

Tropical foliage brings richness and vibrancy to a temperate garden.

Such a struggle characterizes my long and experimental journey toward the use of tropical and subtropical accents in the temperate landscape. Having rejected them for a number of reasons and for a number of years, only to find myself enchanted by the unique properties they can add to a temperate landscape, I am heartily aware of the hesitancy many homeowners and garden designers might experience when considering the use of these striking plants. I wrote of this duality in my recent book Tropical Plants and How to Love Them (COOL SPRINGS PRESS, 2017):

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PHOTOGR A PH BY MA R I A N N E W IL L B U RN

“They are unusual, and people notice them. They are lush and create a vacation atmosphere in everyday life. They are fast-growing, and can bring energy, architecture, and awe to a young garden very quickly. However, due to these same factors, they can also stick out awkwardly, alter the flavor of our gardens, and become a crutch upon which we disproportionately depend.” ➸ apld.org

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Cissus discolor and Dryopteris erythrosora make unusual companions, providing a soothing, but energetic contrast in high summer.

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design101 The key is restraint—both in their application and in their promotion—so that the pendulum does not swing so far from today’s naturalistic planting schemes that tropical plants will, once again, find themselves unable to transcend the vagaries of fashion.

For tropical plants are once again trending—and cliché is inherent in all things fashionable. One must tread carefully.

EXPANDING OUR PALETTE To a certain extent, we all design with plants native to the tropics and subtropics such as Coleus, Salvia, Dahlia, and Caladium. They have quietly and culturally taken their places as customary seasonal fodder, while the many incarnations of evergreen tropical foliage provide ever more alluring accents in the home.

Tropical and subtropical plants are often used in laborintensive public bedding schemes with an emphasis on collection, altering our perceptions of how to use these plants subtly and with precision.

We have accepted this. And yet there is hesitancy to add plants to the garden that we collectively but unconsciously recognize as “tropical’” lest we disturb the genius loci. Tropical or exotically themed gardens—or the intensely planted public bedding schemes of the past—have owned our awareness and unintentionally fostered our perceptions of the use of these plants as agents of transformative change rather than as extraordinary accents to enhance, not detract, from a space.

This is not to say that there isn’t any place for the joys of tropically themed gardens in a temperate climate or to lessen the pioneering work of those who have sought to create an immersive tropical experience against the odds. Rather, it is to point out that this is not the only way to approach the rich palette of texture, color, and form that tropical plants provide the designer. ➸ PH OTO G R A P H S BY M ARIANNE W ILLBU RN

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design101

ACCENTS OVER IMMERSION

A fully tropical scene expertly painted at Chanticleer Gardens in Wayne, Pennsylvania (right).

A Red Banana rises from a wealth of temperate textures in this photo from the author’s garden, yet its tropical origins do not feel out of place due to the softening effect of those textural elements.

Used strategically, with an eye toward the synergistic pairing of tropical and temperate elements and the wisdom to use a light hand, tropical and subtropical plants give a sense of abundance and vigor to a garden. This is particularly true during the more difficult days of high summer, when their responsive energy can be harnessed to carry a space seamlessly through to autumn and provide a backdrop for berrying shrubs and the russeting of temperate foliage and flower.

Of course, if the gardener is anxious “to mature” a young garden quickly, there is no better ally than an assortment of tropical and subtropical plants, which will fill the space in months and allow slower-growing temperate shrubs and trees to establish themselves from a smaller size. As a temperate collection grows, the tropical collection may recede, maintaining a smaller presence with the occasional punch of energy between deeper, temperate breaths. ➸ 50

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PHOTOGR A PHS BY MA R I A N N E WIL L B U RN

➸ apld.org

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But again, one must tread carefully. Certainly, an element of surprise can be created with a twelvefoot-tall Papaya or a fifteen-foot-tall red Abyssinian Banana, but how uncomfortably incongruous is it to find such a vertical accent in a meadow garden—or occupying a container with companions that come up to its knees?

A new area under late spring cultivation in the author’s garden is given almost instant maturity with the help of a small grove of Ensete ventricosum ‘Maurelii’, Brugmansia, Dahlia, Arundo donax ‘Peppermint Stick’, and an assortment of annuals—all while smaller temperate shrubs take hold.

Grasses can help soften the temperate/tropical transition, as can shrubby perennials that block awkward tropical legs with vigor and grace, such as Amsonia hubrichtii, or a mid-sized Hydrangea. Using corners of the garden for strong statements, tropicals can also provide that surprise and engagement without creating awkward juxtapositions in more thoroughly temperate spaces.

PH OTO G R A P H BY JE AN IE ST I L E S

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PHOTOGR A PHS BY MA R I A N N E W IL L B U RN

design101 Care should also be taken to harmonize subtropicals we instinctively recognize as “dry” or “wet” with the prevailing climate and/or topography unless a thematic garden is the object of the design.

Though many can be overwintered in their dormant state, and still others may possess some degree of hardiness, treating these strong accents as annuals allows the design to excitingly evolve throughout the years.

Contrast is everything Never reliant, always fluid, and unexpected.

Availability of tropicals is greater than ever before— perhaps it’s time to have a little fling.

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in this autumn pairing of Canna ‘Red Stripe’ and the prairie native Amsonia hubrichtii.

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interview Lisa Nunamaker: Designing Her Own Journey B Y K AT I E E L Z E R - P E T E R S

D

esigner Lisa Nunamaker is both an illustrator and a landscape designer.

She’s an instructor and an event planner.

She teaches university students and practicing designers. She’s worked in the field and in the classroom. In other words, she’s well practiced at combining skills and talents to create new ventures and opportunities for herself and others within the design world.

BEGINNING WITH IMAGINATION “When I was a child, I drew to create things I didn’t have. I had an entire closet dedicated to my Barbie dolls, and I drew their interior surroundings and created elaborate spaces for them.” She says, “I found the field of landscape architecture by accident. I knew what interior design and architecture were from watching The Brady Bunch.”

FINDING HER PLACE After earning two degrees in Landscape Architecture, one while working as a landscape designer in the Facilities Planning & Management ➸ apld.org

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Lisa's hand-drawings include color elevation and plan views of the gardens she designs.

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department at Iowa State University, Lisa started teaching university classes. She managed educational programming at Reiman Gardens and served as assistant director. Her AD responsibilities included selecting and planning the theme around which all the public garden’s activities would revolve for the year and coordinating all departments to execute the featured theme. While at Reiman, she continued to teach on an adjunct basis and realized that’s where she wanted to settle in.

interview

“

Creativity is taking “I’m thankful I practiced design for so long two things that are because it does make it easier to teach,” known and pulling them says Lisa. She works hard to connect fulltime practicing designers with her students together to create by inviting APLD members to mentor her something entirely new. students and by leading her students through —LISA NUNAMAKER real-world design projects for clients as part of their coursework. “When I taught a construction class, I paired each student with an APLD member to work on assignments in estimating, construction, and project management.” Lisa says, “In the Design class, we have a Facebook group with about twenty APLD members who interact with the students. I involve APLD members in the classroom because I want students to see how amazing and resourceful the designers are.”

”

EXPANDING HER REACH Lisa is incredibly resourceful—but then, she is a designer! As if continuing to practice design in a limited manner, teaching full-time, creating commissioned illustrations for industry publications, and assuming a leadership role with APLD weren’t enough, she’s also created a business called Paper Garden Workshop, through which she offers an eight-week Garden Graphics Toolkit course yearly beginning each January.

“From teaching students, I learned that everyone can learn how to draw.” That gave Lisa the confidence to teach beginning designers, and she says that most of her online course students are people pivoting into the design field who might not have much experience with drawing. “Our field is so visual, and we need to be able to communicate with clients visually and help them understand the product we’re creating,” she says. For this reason, Lisa has created her online drawing course ➸ >>Click here to visit Paper Garden Workshop apld.org

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within a design framework. “We start with line weights, and we learn those within the context of drawing garden room elements such as floors, walls, and ceilings.” It’s a clever way to teach students two things at once.

EMBRACING HER STYLE “I always loved drawing and I’d make cards and prints, and even some stickers. Then I stumbled across Lilla Rogers. She works with illustrators to license work for products. I really love the world of illustration and I took some of her classes,” Lisa says. “It changed my life!

Those classes showed me that it’s okay to celebrate your style. For a long time, I struggled because I wasn’t drawing landscape designs in the traditional way we are taught in school. Lilla Rogers taught me that I could teach with my drawings.”

Lisa says that’s what she’s most interested in, using drawing to teach something she knows, which is landscape design.

LEARNING AND GROWING Lisa says, “I firmly believe that you should read and learn outside your field as a form of professional development. I love learning about other fields, whether 58

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interview [that’s] art or business or marketing. When you leave your profession to learn something and then return with something new, that is how you can inject something new into your field.”

Learning how to develop her online course gave Lisa many new tools and ways of doing business and marketing that she could offer to the design field, as well as a platform to teach new designers more traditional basics and to encourage them to become active participants with APLD. Long-term, Lisa would like her Paper Garden Workshop to grow into her main business, saying she’s only just begun this part of her journey.

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>>Click here to visit Paper Garden Workshop

LEARN FROM LISA

busine ss Preserving the Art of Hand-Drawing

BY LISA NUNAMAKER, PLA

A

s designers our role is to solve problems and create outdoor spaces in a functional, yet creative way. Graphic skills are an important part of this process as they allow us to explore concepts and then eventually communicate them visually. The tools we use can range from a simple pencil to a sophisticated computer drafting program. The final choice belongs to you and your preferences. For me, it’s typically a combination depending where I am in the design process. The earlier stages of concept development always focus on hand-drawing, while the finalized drawings are typically created digitally.

Some of the benefits for me when I hand-draw include: ■ EXPLORATION Nothing beats a direct connection from the ideas in my head to the

pencil on paper. I sketch and explore without judgment. Nothing needs to be perfect, which leads to a beautiful selection of ideas. Tracing paper over a plan or photo allows me to explore many concepts very quickly. I love going through a pile of sketches, one after the other in a matter of minutes, to try a variety of compositions. Sketching on-site, such as in the analysis phase, can provide a deeper intimacy with your site.

■ COMMUNICATION When we share initial sketches with a client, they start to form a

story of the space and our view as a designer, plus our unique style communicates a sense of originality. With a selection of line weights and overall simplicity, these initial drawings can engage a client into your proposed spaces and start a love affair with the possibilities.

■ COLLABORATION Hand-drawings not only engage and sell, they also communicate flexibility and possibility in the sense that a client can still give feedback. This is not the final step, but it is the first step to diligent conversation and on-the-spot collaboration.

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“

Architecture cannot divorce itself from drawing, no matter how impressive the technology gets. Drawings are not just end products: they are part of the thought process of architectural design. Drawings express the interaction of our minds, eyes and hands.

— M I C H A E L G R AV E S

”

HAND-DRAWING TIPS ■ USE A ROLL OF TRACING PAPER

In the concept stage, tracing paper is a magical tool that gives you permission to explore idea after idea. Place the trace over your plan or photo, then explore a multitude of concepts by layering, ripping off sheets, and drawing again and again. I encourage you to use a roll of tracing paper, rather than a pad. The former is less expensive and more freeing.

■ KEEP A COLLECTION OF PENS & PENCILS An assortment of pens and pencils will provide a variety of line thicknesses.

My collection includes everything from Sharpie markers (for the thickest lines) to .005 Micron pens (for the thinnest lines), but my go-to most of the time is a simple felt-tip pen (such as a PaperMate Flair). I can typically get a variety of line weights with the latter by reapplying lines (for a thicker line) or using the point (for a thinner line).

■ EXPLORE A VARIETY OF LINE WEIGHTS A variety of line weights gives your drawing depth and clarity. A basic rule of thumb is to give objects a thicker line weight when they are closer to you in plain view (tree canopies and structures), while objects farther away are thin (paving details and groundcovers). Bonus tip: Line weights are great, but adding ground shadows with a light gray chisel point marker is a nice addition.

■ KEEP PLANT SYMBOLS SIMPLE Rather than create a unique plant symbol for each plant species, simply use a couple each of deciduous, evergreen, and perennial symbols. I like to look at a landscape plan and quickly see the visual balance of deciduous and evergreen plants. Another way to visually simplify a plan is to eliminate the lines between plants in the same group.

This focuses on the plant massing.

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RESOURCES: Click each # for link ›› 1. 2. 3. 4.

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Don’t miss Lisa’s article “Preserving the Art of Hand Drawing” on pages 26–27 of the Spring 2021 issue of The Designer.

Lisa offers pointers for getting creative with pen and paper and discusses the benefits of using drawing to communicate with clients.

>>Click here to read it apld.org

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2021

board of directors

EXECUTIVE COMMITTEE PRESIDENT Eric Gilbey, PLA Vectorworks, Inc. 7150 Riverwood Drive Columbia, MD 21046 (443) 542-0658 PRESIDENT-ELECT Richard Rosiello Rosiello Designs & Meadowbrook Gardens 159 Grove Street New Milford, CT 06776 (860) 488-6507 TREASURER Wickie Rowland, CPLD Design & Landscape (Div of Labrie Associates) PO Box 635 New Castle, NH 03854 (603) 828-8868 IMMEDIATE PAST PRESIDENT Danilo Maffei, CPLD, FAPLD Maffei Landscape Design, LLC 202 N. Garfield Street Kennett Square, PA 19348 (610) 357-9700

DIRECTORS Linda Middleton, CPLD, FAPLD Terralinda Design 1839 Ygnacio Valley Rd., #150 Walnut Creek, CA 94598 (925) 448-2441

CONNECT WITH US!

Lynley Ogilvie Lynley Ogilvie Landscape Design 1636 Madux Lane McLean, VA 22101 (703) 864-9628 Bill Ripley, CPLD, FAPLD Stride Studios 8525 Miami Road Cincinnati, OH 45243 (513) 984-4882 Katie Weber, CPLD Katie Weber Landscape Design 5637 45th Avenue SW Seattle, WA 98136 (206) 391-8894

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name to email us!

The Designer is an official publication and member service of the Association of Professional Landscape Designers (APLD), 2207 Forest Hills Drive, Harrisburg, PA 17112. Ph: 717-238-9780 Fax: 717-238-9985 Disclaimer: Mention of commercial products in this publication is solely for information purposes; endorsement is not intended by APLD. Material does not reflect the opinions or beliefs of APLD. APLD is not responsible for unsolicited freelance manuscripts and photographs. All printed articles become the copyright of APLD.

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