Floral Focus Test

From the Editor

In this issue we have a feast of floral art to offer you. We give you a tantalising taste of the conference in Hamilton, with its wonderful exhibition and talented designers; and we include educational articles to inspire, ideas to try and report on a stunning exhibition in Japan.

The last time a FASNZ Conference was held in Hamilton, nearly 20 years ago, I was a complete newbie in floral art. I was totally wowed by the array presented at the Floravisionz exhibition and by the warm-hearted camaraderie amongst floral artists.

Although this year’s event was no less impressive it was, by necessity, a somewhat less grand affair, reflecting the post-Covid times and lower membership of the Society. Nevertheless the welcome was enthusiastic, the venue superb and the talent just as evident.

The conference facilities presented by Southwell School were excellent and the staff looked after us with great care. In addition we were impressed by the musical talent of some of the school

students who entertained us on the Opening Night.

New Zealand Treasure and celebrated diva Malvina Major generously gave her time and shared her memories as our special invited guest for the Opening and she then presented the prizes to the winning competitors of the exhibition.

A very professional video has been made of the exhibition, including Designer of the Year, by Geri and Steve Nielsen which you can watch on YouTube. Go to: https://www.youtube. com/watch?v=MNz7oKf3XIE. It’s excellent.

There is lots to enjoy and inspire in this issue. Happy reading!

Carol

Front Cover: Design by Jenny Harris ‘Poi-e’. FASNZ 2024 Diary

Back Cover: Design by Deidre Johnstone ‘Pert and Pretty’. FASNZ Conference 2023 Exhibition.

The Editor has the right to print or not to print, to cut and to edit in order to maintain a uniform standard. Any opinions expressed are not necessarily those of the Editor and/or the FASNZ Inc. Management Board. Articles published in Floral Focus are the property of FASNZ Inc. No part of this publication may be reproduced without prior permission of the publisher. © 1986-2022 copyright FASNZ Inc.

The DOY 2023 Winning Design by Jenny Buchanan

2 FASNZ Conference 2023

Introduction and Photographs from the Opening Night

3 My ‘Connected Energy’ Design

Jenny Buchanan describes her journey to become the winner of DOY 2023

4 The Designer of the Year Competition 2023

Photographs of all the entries

9 Competition 2023 Results

10 Exhibition 2023

Photographs of the winning entries

16 FASNZ Diary 2024 Awards

The designs which won the Special Awards for next year’s Diary

19 A Momentous Milestone at St Heliers Celebrations for the Club’s 50th Anniversary

20 Innovate 2023

A Demonstration by six talented designers

23 Muriel Stefano Trophy 2023 Winner Lois Damen 24 What

30 Montage

An Education Article by Lorraine Usher explaining this Style of Design

32 Northland Area Designer of the Year 2022

Results from the ’70s Party competitions

37 Beachcombing Day

A day designing at Waiomu Beach

38 Japan Cup 2023

Photographs from the Nothing is Impossible Exhibition

42 Timaru Festival of Roses

Annual competitions held as part of a wider floral festival

44 Conference 2023

Trends and Techniques

More reports from Conference Events

48 Conference 2023 – Workshops

An opportunity to participate – with five FASNZ tutors

52 FASNZ Education Results

52 Garden of Memories

53 FASNZ Trading Products

Closing date for copy:

Issue 87 30 July 2023

Issue 88 30 November 2023

Issue 89 30 April 2024

FASNZ President

Shirley Russ

P O Box 7228, Sydenham

Christchurch 8014

Phone: 027 220 4531

Email: president@fasnz.org.nz

FASNZ Chief Operating Officer

Marianne Gibson

150 Mangatawhiri Road, RD6

Warkworth 0986

Phone: 021 710 706

Email: coo@fasnz.org.nz

FASNZ Secretary

Helen Jackson

18 Weka Place

Picton 7220

Phone: 021 066 4626

Email: secretary@fasnz.org.nz

Floral Focus Editor

Carol Gowan

113 Iwa Street

Mapua 7005

Phone: 027 527 8206

Email: ffeditor@fasnz.org.nz

Social Media Co-ordinator

Ann Haszard

Email: socialmedia@fasnz.org.nz

FASNZ Conference 2023, Hamilton Take a Piece of No. 8

After three years of Covid disruptions, and two cancelled conferences, it was wonderful to have the opportunity for floral friends to get together and show off their artistry. Although this was a slightly slimmed down conference compared to previous years, it was nevertheless three days full of energy, creativity and activity.

Among the many highlights of the Conference we were thrilled with the design excellence exhibited in the triennial Designer of the Year competitions, the Diary 2024 awardwinning designs and the Innovate 2023 demonstrations; we took part in learning opportunities through workshops and education sessions; we had a chance to

put forward our ideas for the future of the Society at the AGM; and we renewed old friendships and made new ones.

Southwell School, with its beautiful grounds and excellent facilities, provided us with a wonderful venue for all the conference activities, and having refreshments and lunches on-site was an added bonus.

Congratulations to the Organising Committee, competition entrants and winners, demonstrators and tutors, and every club member who chose to come along and enjoy the festivities. It was a great event!

Welcome to the Exhibition

Retiring President Marianne Gibson hands the baton to new President Shirley Russ

Jenny Buchanan DOY 1st, Francine Thomas DOY 2nd, Yvonne Fletcher DOY 3rd

Competition Special Award Winners with Dame Malvina Major: Liz Chapman, Mary Milham, Jenny Harris, Lynne Causer, Juliet Leonard

Dame Malvina Major congratulates DOY winner Jenny Buchanan

My ‘Connected Energy’ Design

What a great title –‘Connected Energy’ – a Stamobile which has to have one or more freely moving parts. There are actually three moving parts in my design.

It has been a journey after winning the South Canterbury Area DOY in August 2021 with Covid putting the conference on hold until 2023, then uncertainty with the Cook Strait ferries leading up to departure date.

I started making mitres using Phormium after a wonderful workshop the Geraldine Floral Art Group had held in November 2021, so when the title for the DOY came out in January 2023 I had a collection of various sizes to choose from. The palm spathes had been collected during trips to the North Island over a number of years and brought back to the south on the plane. These were my inspiration once the title was out and playtime in the garage began in earnest during February this year.

Mitred claddies (Phormium flower stalks) all connect together forming interesting components. The orange tissue paper and cane forms, which echo the triangular shapes in the mitred claddies, connect the components, and the orange wool inserted into the grooves in the palm spathes connect the spathes to the other components. Orange Heliconia complete the design and the colour orange suggests energy which all comes together as ‘Connected Energy’.

It was a privilege to represent the South Canterbury Area in the DOY and I thank all floral designers in NZ for their creative and inspiring designs sent in for the FASNZ diary publication and Floral Focus magazine, which also has excellent informative ‘how to’ articles. All floral designers have the support of other members of a club and help is always at hand with workshops and club days. What a lovely art form we have chosen.

Jenny Buchanan

Jenny Buchanan Designer of the Year 2023 winner

DOY 2023 winner, Jenny Buchanan, tells us how she developed her ideas for her winning design

Barbara Leonard, Southern Region

Heather Monk, Manawatu Area

Gail Wilson, Thames Valley Area

Yvonne Fletcher, Gisborne East Coast Area

Francine Thomas, Bay of Plenty Area

Sue Faesen-Kloet, Auckland Area

Lynne Causer, Auckland Area

Jan Whitmore, Taranaki Area

Dorothy Turner, Waikato Area

Dorothy Gibbs, Wellington Area

Janthia Holt, Top of the South Area

Rosie Speedy, Northland Area

Carol Rains, Canterbury Area

Take a piece of No. 8

Results of the Designer of the Year, competitions and exhibition

Congratulations to all entrants and winners

Designer of the Year:

Title: ‘Connected Energy’ – a stamobile Winner and Designer of the Year 2023 –Jenny Buchanan

2nd – Francine Thomas

3rd – Yvonne Fletcher

Exhibition:

Class 1

‘Take a Piece of No. 8’ – a mixed media collage for hanging

1st – Jenny Harris

2nd – Lynne Causer

3rd – Sharron Nicholas

Class 2

‘Over the Edge’ – a cascade design

1st – Shirley Fletcher

2nd – Maria Baxter

3rd – Helen Jackson

Class 3

‘Arresting Simplicity’ – unrestricted height on an aluminium stand

1st – Elizabeth Chapman

2nd – Heather Hammond

3rd – Kathryn Simmonds

Class 4

‘Circles in Space’ – unrestricted height on black sonoco tubes

1st – Asogan Govender

2nd – Annette Waller

3rd – Allison Ingram

Class 5

‘Pert and Pretty’ – a petite design 100230mm

1st – Judy Williams

2nd – Deidre Johnstone

3rd – Mary Milham

Class 6

‘Rust and Rope’ – a table design for newish members

1st – Linda Merry

2nd – Lyn Phillips

3rd – Ann Liufalani

Class 7

‘Dressed for a Frivolous Frolic’ – a design to be worn on the head

1st – Juliet Leonard

2nd – Mary Milham

3rd – Asogan Govender

Class 8

‘Tints, Tones and Textures’ – a traditional vertical design on a table

1st – Pauline Luxton

2nd – Elaine Brighouse

3rd – Olwyn Bertram-Ellison

Children’s Classes

Class 10A

‘Design in an Egg Cup’ – ages 5–10

1st – Khloe Walters

2nd – Brianna Rapley

3rd – Cooper Walters

Class 10B

‘A Bug to hang in a Tree’ – ages 5–10

1st – Zoe Jackson

2nd – Cooper Walters

3rd – Holly Betschardt

Class 11A

‘Design in a cup and saucer or coffee mug’ – ages 11 – 15

1st – Samantha Rapley

2nd – Ashlyn Fraser-Jones

Class 11B

‘A Bug to hang in a Tree’ – ages 11–15

1st – Ashlyn Fraser-Jones

Special Awards:

Best Use of Colour: Juliet Leonard, Class 7

Best use of Texture: Lynne Causer, Class 1 Most Innovative Design: Jenny Harris, Class 1

Award for Outstanding Workmanship: Mary Milham, Class 7

Best Achievement of Rhythm in a Design: Liz Chapman, Class 3

Deidre Johnston

Lynne Causer

Olwyn Bertram-Ellison

Elaine Brighouse

Pauline Luxton

Asogan Govender

Jenny Harris

Sharron Nicholas

Asogan Govender

‘Diminutive Delight’

Allison Ingram

Linda Merry

Ann Liufalani

Mary Milham

Lyn Phillips

Kathryn Simmonds

Annette Waller

Mary Milham

Mary Milham

Juliet Leonard

Judy Williams

Juliet Leonard detail

Heather Hammond

Liz Chapman

Maria Baxter

Helen Jackson

Shirley Fletcher

Brianna Rapley

Khloe Walters

Diminutive Delights

Zoe Jackson

Cooper Walters

Cooper Walters

Samantha Rapley

Ashlyn Fraser-Jones

Holly Betschardt

FASNZ Diary 2024 Awards

Congratulations to everyone who submitted entries for next year’s Diary, and especially to those whose design was chosen and to those who won a special award. The special award winners are as follows:

Front Cover Award

‘Luminous’

Gislinde Folkerts

Geraldine Floral Art Group

Premier Design Award

‘Carousel’

Jenny Buchanan

Geraldine Floral Art Group

Most Innovative Design Award

‘Spinning’

Jenny Buchanan

Geraldine Floral Art Group

Period Design Award

‘Rococco’

Alison Jefferies

Palmerston North Floral Art Group

Best Use of Leaves Award

‘Leaf it to the Leaves’

Jenny Harris

Floral Art North Canterbury

Best Use of Colour Award

‘On the Bright Side’

Elizabeth Chapman

Geraldine Floral Art Group

NZ Indigenous Floral Award

‘Poi-E’

Jenny Harris

Floral Art North Canterbury

Celebration Award

Matariki’

Linda Smith

Takapuna Floral Art Club

Mangere-Franklyn Garden Club Trophy awarded for the highest number of acceptances in the Diary per Club members

Geraldine Floral Art Group

Gislinde Folkerts: Front Cover Award

Jenny Buchanan: Premier Award

Alison Jefferies: Period Design Award

Jenny Buchanan: Most Innovative Award

Linda Smith: Celebration Award

Jenny Harris: Best use of leaves

Elizabeth Chapman: Best use of colour

St Heliers Floral Art Club 1963 - 2023 CELEBRATING60YEARS

A Momentous Milestone

ADiamond Anniversary was celebrated in style by St Heliers Club members on 10th November 2022. President and Secretary, Faye Lees, welcomed everyone to the celebratory lunch at the Sails Restaurant in Westhaven. Tables were sprinkled with diamonds and decorated with diamondthemed designs created by Faye and Elaine Duddy.

The elegant cake with rose decoration was organised by past-President, Laxmi Patel, and another past-President Dawn Buxton proposed the toast to past members, including to the Club’s oldest member, Yvonne Patterson who is 98. Sadly Laxmi passed away a few months after this event.

After the lunch Faye recounted many humorous incidents and reminded everyone of the numerous activities held by the club over the years. She was thanked by Treasurer Elaine Duddy for her thoughtfulness and leadership which helps to make St Heliers such a friendly and exciting club to belong to.

Bouquets of flowers were presented to all the past-presidents, the committee members and long-serving club members.

It was a joyful and memorable day.

Club Presidents past and present: Faye Lees, Glenys Mairs, Dawn Buxton, Laxmi Patel, Pam Garlick and Treasurer Elaine Duddy

Club Committee: Faye Lees, Glenys Mairs, Laxmi Patel, Juliet Allen, Frances Lynch, Lili Li, Elaine Duddy

FASNZ Conference 2023 Innovate F

or Innovate 2023 six of New Zealand’s top designers presented current influences in floral design and shared their ideas for today and beyond.

Liz Chapman was first up with a design using plant material foraged “from my back yard”. A structure of randomly arranged flax claddies held together with self-tapping screws was hung on a large frame. To this was added a vibrant orange ball covered with dried calendula petals and a long strip of gum bark which had been dried, sanded and burnished thus complementing the colour palette. Four long leaves of sansevieria held vertically in two black tubes – two up and two down – gave solidity to the structure, which was completed with the addition of draping branches of Taxodium disticum. Pins made from No. 8 wire ensured the design was in keeping with the Conference theme.

Our second designer, Gislinde Folkerts, began her demonstration talking about her experiments with paper. Using the

principles of origami she worked out how to fold a sheet of paper into a circle using parallel and diagonal folds. She told us how she had found the best type of paper to use, how to make the folds permanent and how to connect several folded circles together. She then referred to the white paper circles balanced on the top of a white pole beside her and with what seemed like a magician’s sleight of hand she released the paper circles and the stand was clothed in a wonderful garment of white folds and twists. A few large monstera leaves were added to pick up on the rhythm, giving repetition of light and shadow and form.

Next up was Vanita Patel whose design was a pleasing combination of straight lines, circles and curls. The circular frame had been partly filled with two pieces of black corflute leaving an open central panel of copper mesh. Strips of green floral paper had been glued to the corflute on either side of the central panel. Bright green rods criss-crossed the circle behind a pair of solid black bamboo sticks placed vertically. Round

flower heads of dried hydrangea picked up on the shape of the round frame as did the few curls of wire placed throughout the design. Two striking heads of heliconia were added for the finishing touch.

Making a structure for an exhibition or demonstration takes time and dedication – but what to do with it afterwards? The structure that Leigh Greenstreet used for her demonstration had started life in the competitions at the World Show in Jaipur in 2020. She reworked the pieces and added to them to make a horizontal structure set at head height on a stand. Most of the curves were made using a base of 200mm aluminium wire and all of the structure was covered in the delicate bark of the hoheria tree – houhere or lacebark. Leigh spoke about her inspiration for this delightful design and the importance of the layering of colours on the structure. Plant material included shiny hound’s tongue ferns, white lilies, café au lait dahlias, green amaranthus, delicate lilac-coloured waterlilies and hydrangea flowers. She gave us a tip

The final display

about a water source for suspended plant material. Make two opposite holes at the top of a plastic test tube with a hot wire or knife. Push the tube onto the bottom of the stem and put a pin through the holes to hold the tube in place.

As a complete contrast our next designer, Annette Waller, presented a modern vibrant upright structure, inspired by the windows in a building. Four square wooden stakes were placed to give three vertical sections comprising a collection of red cardboard panels and grids of smaller stakes. Red amaranthus flowers exactly matched the red panels and dark green magnolia grandiflora leaves provided contrast, along with the draping dried amaranthus flowers.

Shirley Russ provided the finale demonstration with another repurposed structure. This had been a ‘man’ from a floral carpet display at Canterbury Cathedral. Now he was to be a ‘lady’. On one side she had a cloak made from woven dried cabbage tree leaves and on the other a skirt made from a huge nikau palm spathe. Seven protea flowers became the body of the lady and another six of a different variety were placed into the plaited ends of the spathe skirt. Curls of astelia leaves hanging from the cloak and the skirt gave a feminine touch to the design helping the transformation.

Liz Chapman

Leigh Greenstreet

Leigh Greenstreet detail

Gislinde Folkerts

Lois Damen: Winner of the Muriel de Stefano Trophy 2023

As a dedicated member of Avon Floral Art in Christchurch, Lois Damen has been a stalwart and wonderfully active participant of the Club. She has been involved with the Club Committee as Treasurer and President, with the Canterbury Area Committee as Treasurer and Secretary, and involved with the Canterbury Clippings group since its inception. She always upholds the highest of standards in these positions, taking great care with accuracy, preparation, consistency and delivery.

Her input into matters for discussion is always thoughtful and succinct, demonstrating her wisdom and respect.

Lois has completed several of the FASNZ Units and always uses the skills she has learnt in her floral designing, demonstrating beautiful colour harmonies and polished workmanship. She is an enthusiastic participant in competitions, the Designer of the Year, special events, the FASNZ Diary and National Conference.

She always enjoys attending workshops and extending her knowledge, and is unfailingly generous in sharing her knowledge and being encouraging to others through mentoring.

Lois is an inspiring tutor delivering well planned and beautifully executed workshops whether these are at the Club

or in the wider community. For the last 14 years she has been on the Education Committee working tirelessly to ensure workshops run smoothly, professionally and are enjoyable for all attendees. Her work has been described as “selfless for the betterment of others”.

While Lois works quietly in the background, she can be relied on totally and is always prepared to put up her hand to help. She perfectly meets the requirements for the Muriel de Stefano Trophy.

What is a Grid?

by linda barnett

Flair definition: Grid – A technique. A formal network of crossing parallel lines.

A Grid is a technique which forms a formal network of parallel lines using straight sticks. A grid can be used to make structures and is often used as a form of mechanic.

Connections

The components are connected and secured at the union points by a variety of methods. With any method there is a right and wrong side and they should all look the same for neatness and finish. The key to making a successful grid is

straight components must be used. Ties and fastenings must be kept neat and uniform and remember proportion and scale. Tying with wire has a right and wrong side whereas with glue either side can be used.

With the round sticks some depth can be created even being a flat shape. Depth can be achieved by using straight flexible sitcks which allows the form to bend and twist but still keep its grid apprearance.

Various methods of connections

Val de Lautour

Front View: Showing all crossing going the same way

Back View: Before all ends are neatly cut

Fastening methods:

Decorative wire

Paper coated wire

Raffia

Gluing using a hot glue gun or PVA

Staples

Screws (To stop sticks splitting, drill a small hole first.)

Strings or Crochet cotton

Suitable Plant and other Materials

Bamboo skewers

Garden stakes – seedling sticks

Any straight garden sticks or stems

Cane

Midelino sticks

Fruit tree prunings

Phormium flower stems

Rolled tubes of paper/corrugated

cardboard

Ice block sticks

Drinking straws

Square seedling sticks

Imported, dried bamboo sticks

Dried stems

Dowelling

Satay sticks

Prunings

Note: When fresh sticks/stems are used they will shrink and the fastenings will require retightening as they dry.

Margaret Day

Ann Hodson

Joy McGregor

Nancy Murphy

Helen Potter

Midelino sticks

Webinars from Europe, Design Exploration Courses from Australia, Video Tutorials and On-Line Demonstrations from all over … the options were endless.

Creative Collaborations

Using unfamiliar ‘technology’ to participate can initially be very scary, but after some research, a few coaching sessions and some very rookie attempts, one does become more accustomed and proficient at using. What we have to remember is that everyone is still learning and experiencing the odd issue; it’s all part of developing new skills.

Our on-line experiences during the early stages of the Pandemic started us thinking, how could we use technology for education purposes here in New Zealand? The idea of on-line Study Groups was one of the concepts we explored. The plan was to assemble a small group of like-minded designers and give them a single material theme to explore in-depth. The emphasis was on self-directed, independent research of the material, experimenting with it and bringing one concept to fruition for group analysis each month. The

philosophy relied on self-exploration with support and encouragement from each other rather than one person presenting the concept and assessing designs, as we have been used to in the past. The overall aim was for group members to be adventurous with their designing and come up with fresh, original and innovative design ideas that go above and beyond what has been seen before.

We pitched the idea to the FASNZ President and Vice President, Marianne and Shirley, early in 2022 and they were very enthusiastic about trialling the concept. It was agreed that the group should be ‘Hands-On and Working’ with all members being active participants. We decided on the name ‘Creative Collaborations’ for the Study Group as this best described what we were about. The theme for this initial trial would be ‘WIREWORKS … for Mechanics, Form and Structure, and Decorative Uses’ – a

very broad topic to explore. The theme lent itself to contemporary design work but communication, sustainability and foraging were also significant.

Within a few short weeks we had a group of 12 enthusiastic and adventurous designers of all levels willing to commit to the Trial. The Study Group Trial ran for approximately four months during the Winter of 2022. The first month was allocated to Research and Development of the Wireworks theme. Group members spent this time gathering ideas and assembling a portfolio of concepts and information to which they could refer. They looked at not just what floral designers around the world are doing with wire, but how wire, in all its many forms, is used by artists, sculptors, basket makers, paper artists, textile artists … and how their concepts and techniques could be adapted to floral design.

When the Pandemic hit and made face-to-face education opportunities impossible, enterprising designers explored new and creative ways to continue their floral design studies.

Janthia Holt

Then came the Challenges:

Challenge #1

Create a design to incorporate or feature bind wire, weld wire, blue anneal wire, copper wire, galvanised wire

Challenge #2

Create a design to incorporate or feature paper covered wire, pipe cleaners or any other decorative wire

Challenge #3

Create a design to incorporate or feature wire mesh

Having specific parameters and a good amount of time to complete each Challenge allowed Study Group members time to really sink their teeth into developing their concepts. Group members were able to communicate not only during the Challenge Meetings but through a Chat Group – to share resources and inspiration, discuss techniques, find answers to problems they were having and even plant exchanges. At the end of each Challenge, Study Group members

submitted a photo of their design to the Group Administrators, Marianne and Shirley, who put together and led the Challenge ‘meeting’. Members joined via Zoom for the one hour session where we looked at everyone’s work, the designer talked about their design and there was opportunity for discussion and input from others about the design and future paths. The willingness for group members to talk so openly about the design process and share what worked well as well as what didn’t and the input from others about where the concepts could lead, really made this Study Group successful.

The pre-requisite for group members to be active participants working on the task and be prepared to take their turn to share their ideas undoubtedly contributed to confidence and growth within the group.

We believe the Study Group members responded very well to this concept, gained confidence in their own ability as the trial progressed, explored some really

inspirational ideas and supported each other magnificently.

The Study Group trial has been a mini-‘Design Adventure’ for those with a passion for floral art and who love a challenge. It’s opened up an option for designers throughout the country, especially those from small Clubs and Areas looking for alternate ways to extend their design knowledge. Some of the responses in the Trial assessment talked of “gaining confidence to move forward”, “loving the sharing of ideas” and “it’s been great to have a personal challenge and a concept to work on over the winter months”.

Members of the initial trial are very keen to continue the Creative Collaborations Group for another year. We think that’s a successful outcome!

Rhonda Hall and Rae Baxter

Gislinde Folkerts

Marguerita McBeath

Josie Brennan

Kathryn Simmonds

What are the origins of the Montage Floral Art Design?

In art, a montage is created by sticking one material over another to form one artistic design. In photography the term ‘montage’ is used when photos are pasted together and often overlayed. The pieces are all selected to convey a message.

What are the main features of a Floral Art Montage?

Low designs which are capable of being:

Hung on a wall

Staged on a sloping surface

Placed on a level table

A backing/base board is used (e.g. plywood, MDF, pin board, foam), or grids of wire or low trays (with floral foam). This forms the largest area of the design and may be of any shape –square, rectangular, round (geometric) or irregular.

Interconnecting layers are created in various ways – for example, using matlike forms of natural materials – cork or

by Lorraine Usher Montage

Flair definition:

A style of design. A shallow three-dimensional design in which plant material and other components are used to create distinct individual but visually linked layers. It may be hung against a wall or staged on a table.

hemp table mats, veneer, bark slices, fungi.

Man-made materials may be used e.g. perspex slices, irregular shaped cardboard covered with leaves such as Aspidistra or Stachys, sisal, bark or moss, or regular geometric cardboard or MDF forms – rings or squares bound with sisal, fibres or yarn. Layers may need fixing to the backing or to themselves by wiring or securing with cable ties. Wooden skewers or thick stub wires may be required for anchoring the materials in the floral foam.

Depth is created by separating the layers – using lifts/legs created by small wood slices, cut dowelling, pieces of stem (willow etc), pieces of cardboard or boxes, toilet rolls or kitchen towel rolls, florists’ frogs, lids etc.

The use of connecting components to link the layers – e.g. linear leaves such as Phormium or Cordyline, contorted twigs such as Salix, decorative wire, Midelino or other cane, covered wire, thick wool fibres, string,

The use of textured materials to cover the bare surfaces as outlined in points 2, 3 and 4, such as leaves and stems that dry well e.g. Eucalyptus, steel grass, seeds, lichen, or moss.

The use of decorative items to add interest and rhythm through repetition of colour, texture and form e.g. seed heads, fruit slices, glass nuggets, pearls, pebbles, shells, pan scourers. These components can help to interpret a theme. Glitter and a touch of colour (spray paint) highlight can give further interest.

The use of suitable additional fresh plant material is incorporated e.g. Tillandsia, succulents, bold individual blooms, fresh foliage. Small phials may be required as water sources for the fresh material.

Based on Notes from Dr Christina Curtis. ©FASNZ Inc 2022

Annette Waller

perspex rods or plastic tubing.

Francine Thomas

Northland Area Designer of the Year

The Northland Area held their Designer of the Year in November last year, giving their competitions the overall title of ‘70s Party This was a very appropriate title as two of the clubs, Kaitaia and Whangarei, had both celebrated 50 years during 2022.

The event was hosted by Whangarei Club and held in the Trigg Arena. Whangarei has used various venues over the years and this, along with its very obliging and helpful custodians, proved to be an ideal complex and enabled everything to be held in the one place. We included a plant and produce trading table as well, and this was very successful.

The judge was Nancy Murphy, who also gave us an entertaining demonstration from facets of her life and her overseas trips with FASNZ.

There were twenty entrants in four different classes, and with plenty of colourful flowers, the designs created a striking display.

Lorraine Williamson

Results

Open Class: Title – Let the Good Times Roll

Winner of DOY: Janice Walker, Whangarei Club. She also won the Colour Award

2nd: Rosie Speedy, Whangarei Club. She also won the Innovation Award

3rd: Sharron Nicholas, Doubtless Bay Club

Senior Class: Title – Disco Queen

1st: Karin Hawtin, Kerikeri Club

2nd: Raewyn Pennell, Kaitaia Club

3rd: Jenny Phillips, Kerikeri Club

Merit: Lyn Read, Kerikeri Club

Intermediate class: Title – Happy Days

1st: Lyn Best, Kaitaia Club

2nd: Wendy Maran, Whangarei Club

3rd: Christine Squire, Kerikeri Club

Novice class: Title – Flower Power

1st: Judith Stewart, Whangarei Club

2nd: Lynette Pike, Kerikeri Club

3rd: Trish Alder, Kerikeri Club

The Doris Bollschweiler Novice Innovative & Creative Trophy went to Lois Stather-Dunn of Kaitaia Club.

Janice Walker, Designer of the Year

Rosie Speedy, 2nd Open

Sharron Nicholas, 3rd Open

Karin Hawtin, 1st Senior

Jenny Phillips, 3rd Senior Trish Alder, 3rd Novice

Christine Squire, 3rd Intermediate

Wendy Maran, 2nd Intermediate

Lyn Best, 1st Intermediate

Lois Stather Dunn, Novice Innovation Award

Judith Stewart, 1st Novice

Raewyn Pennell, 2nd Senior

Lynette Pike, 2nd Novice

On a glorious day in March our club members met at a fellow member’s home for morning tea and our monthly meeting. We displayed our competition designs titled ‘Beachcombing’ using the things that we had collected, hoarded or gathered during the holiday break.

We adjourned the meeting to the Waiomu Beach Café to have lunch, after which we wandered across the road to the beach to see what we could find. There was lots of fresh driftwood, seaweed, and beach-weathered plant material as well as shells and stones to play with.

We separated into groups and created designs from what we found, keeping in mind the elements and principals of design. Members showed great creativity while enjoying the sea view that surrounded us. It was a great day.

Lisa Van Noordt

A joyous and unexpected treat of Japanese floral masterpieces

JAPAN CUP 2023

An unexpected opportunity to attend the 2023 JFTD Japan Cup arose on the final day of a Spring visit to Japan recently. I’ve seen work from this very prestigious event in publications in the past and once I became aware that it was on, there was a mad scamper across Tokyo on trains to the Big Sight Convention Centre. This complex is massive and unusually quiet on this Sunday morning but tucked down at the end of the very long main Concourse, East Hall #8 was a hive of activity and a sight to behold for a floral designer …. 87 large scale exhibits, the JAL tabletop competition, and as we arrived the semi-final for Japan Champion was in progress with the Finals round scheduled for the afternoon. Definitely an OMG moment! And where to start?

While the language barrier made it difficult to interpret titles, sub-titles and designers, there’s no barrier when it comes to viewing good design work – and these pieces were absolute masterpieces. Japanese florists stage their designs impeccably and are masters of mechanics. They excel at colour combinations, often stripping foliage from plant material to emphasize colour, and work with flair and innovation to achieve very pure designs with “quiet” and elegant stylishness. Competitors used all forms of bamboo and pine skilfully for both staging and elements within designs. Flowers to feature included blossom (of

course), chrysanthemum (the Imperial flower of Japan), every imaginable form of orchid, Gloriosa lily, carnations, roses and ranunculus in fabulously smoky colours. A lot of small flowers were used en masse to create big, often sculptural, components, there was some deconstruction of blooms to use parts separately and ZEN elements to emphasize simplicity within designs.

What a fabulous Sunday treat and oh so good for the soul. I smiled for days!

Rae Baxter

“Nothing is Impossible”

Timaru Festival of Roses

Timaru Floral Art Group held their Dorothy Parker Trophy in December last year at the Timaru Festival of Roses.

This Festival runs over three days and this time, being its 20th anniversary, they incorporated a cocktail party, demonstrations and workshops with Lynda Hallinan combined with a delicious high tea. The South Canterbury Rose Society and the Floral Art Group held competitions and an exhibition at the Caroline Bay Hall over two days, including floral saucers and posies from local schools.

For our competition we used the title ‘Coming up Roses’, for which we had twelve entries. The judge was Bernadette O’Reilly, who is a retired member of the group. The winner of both the Dorothy Parker Trophy and the most innovative design was Dawn Esler. She also won the Margaret Tulley Trophy and the public vote. In second place was Joy Cox and in third place was Marilyn Davis. Two highly commended certificates were given to Nona Johnston and Liz Gray.

The Judge said that all the designs were of a high standard, and members of the

public must have thought so too as we had many enquiries about the club.

On the third day of the festival there is a market day with entertainment by local and national performers which draws several thousand people to attend.

We believe it’s a great way to showcase for our passion – Floral Art – with little or no expense to the club.

Jan Chambers Publicity

Nona Johnstone

Dawn Esler with her winning design

Marilyn Davis

Joy Cox

FASNZ Conference 2023

The Trends and Techniques sessions, which were so popular at the Napier Conference, were offered again this year, with attendees being split into four groups, and moving from one session to the next over a two hour period … four repeats for the tutors with the sessions running concurrently – exhausting for them, but exhilarating for the participants.

Sue Gardiner

Sue introduced us to moulded pulp board, which is available from hardware outlets or can be ordered on-line. This board, which is made from layers and layers of waste paper, can be wet moulded, sanded and easily cut. It is wonderful for making shapes to be used in a floral design. The required shape is drawn onto the board and then cut out. It is dipped in warm water until it becomes pliable and then it can be bent or curved into the desired form and held with pegs or ribbon until it dries.

When dry it can be sanded, textured, covered with a decorative paper or fibre, painted or made waterproof with a suitable product.

Chhaya Parbhu

Chhaya has been experimenting with rice paper to come up with many interesting shapes and forms that can be used in floral designing. The process involves dipping a sheet of rice paper into warm water to which has been added some food colouring of your choice. Then take a sheet of baking paper, crumple it up and lay the wet rice paper sheet over the crumples to dry, resulting in interesting shapes and textures. A form can be built up from layers of rice paper, but they must be left to dry before adding another layer. Putting pieces of tie wire in between the layers can make it easier to fix the form onto a stand or structure.

Once dry Mod Podge can be painted on the surface as sealant, or as a glue for covering the form with petals, seeds etc. The form then needs to be waterproofed with a suitable product, otherwise it is likely to soften and lose its shape or go mouldy.

Sharon Benton

Sharon has been learning different types of weaving techniques to incorporate in her designing. She explained the basic weaving terms of warp and weft and how to use shapes and forms such as a split stick or a circular wire frame to hold the warp for weaving as with a loom. She stressed the need to ensure the tension of the threads or fibre is correct in order to get a good finished result.

Her slide show gave many examples of different types of weaving using natural materials and she handed round interesting samples of her work: a shallow basket made of dried woven dracaena draco leaves, a random-woven cane basket with driftwood handles, branches held tight with a weaving of brightly coloured cloth strips woven onto warps of string, and several pictures of fresh and dried leaves, stems and seedheads woven into wire frames for wall hangings and panels. The options are endless and exciting.

Noeline Shaw

Noeline has come up with an interesting way to make a frame using plastic straws. She said that these are very easy to make and to transport. This is a perfect winter activity to do inside. Each segment is 3-dimensional and has 14 sections with the straws cut to the length required for the desired size of the section. 22gauge wire is threaded through the centre of the straw sections to join them and create a hinge so that they can be shaped into a 3-dimensional diamond shape (or octahedron).

If you have no plastic straws to use up try dried hollow-centred stems eg. fennel, alstromeria. This technique makes a very strong frame which is flexible for different styles of design and easy to collapse and transport.

FASNZ Secretary Helen Jackson finds a design to match her dress