Asian
Design
Design
Ikebana Today
This book illustrates the contemporary skills of Ikebana artists today and all are relevant to those who are not Ikebana advocats or practiiners. The books appeal is broad and breathtaking, not a leaf or stem out of place a flowe incorrectly placed.Chosen by Mit Ingelaere (author of Tranparencies reviewed eleswhere on the site) a significant member of BAFAS, Belgium's elite society of creative amateur floral designers there is a myriad of new ideas and innovation to have you pondering ..and moved.. The term amateur here describes the point that the groups members are not usually professionally and commercially occupied with flowers but more that they are hobbyists who work with them with full enjoyment .(The equivalent group in the USA is the Garden Club Of America.)
With Mit Ingelaeres strong background knowledge and floral designing experience and interest is promoting good design across the board. To do this she gathered together ikebana schools and ikebana florists she believes to be the leading lights in the Ikebana world in Belgium today . This collection of work shows the endurability of classical ikebana and its transitions into our contemporary lives.Onecan easily spot the influences it has had on modern designers. The purity and excellence of design in the book are unquestionable.
A valuable book that helps us recognise and appreciate timeless floral beauty while speaking to the artistic soul in us all.
$85.00
International Annual of Floral Art 05/06
The aim and vision is to show the innovative and international state of of floral art and design year by year..
Calling for applications from a network of master florists, master classes , designers and floral schools, and tutors,106 personalities gained entry to the first annual,with the first three places gained by Japanese florist Naoki Sasaki, Jacques Castagne of France and Daniel Santamaria from Spain.
This first Floral Art Annual 2005/ 2006 was an instant sucess , its value resounding in the global floral world. With the inclusion of designers from Russia, Asia, Japan, Nordic countries, Europe Spain, Australia and New Zealand it brought an insiders geographical,horticultural cultural and personal view of floristry and design. Each future edition is destined to be the highlight of progressive floral artists, designers and art watchers libraryand an invaluable resource of whos who and whats happening in contemporary floristry.
This is global Floral Art leading the world, a reference book and a review of world developments no serious floral artist would even think of being without.
Inspirational, intriguing,iconic.
This first Floral Art Annual 2005/ 2006 was an instant sucess , its value resounding in the global floral world. With the inclusion of designers from Russia, Asia, Japan, Nordic countries, Europe Spain, Australia and New Zealand it brought an insiders geographical,horticultural cultural and personal view of floristry and design. Each future edition is destined to be the highlight of progressive floral artists, designers and art watchers libraryand an invaluable resource of whos who and whats happening in contemporary floristry.
This is global Floral Art leading the world, a reference book and a review of world developments no serious floral artist would even think of being without.
Inspirational, intriguing,iconic.
$85.00
One Hundred HANAKUBARI
One of our most FAVOURITE finds of the year which has seen us scurry off and look for earlier titles of this stunning approach to working with cut flowers evolved through the philosophies of Keita Kawasaki.From his point of view most plants used in floral design stand naked as it were and vunnerable.(.our description!) once we have determinedly taken them from the the soil that nutures and supports them and then removed their roots so we can do what we wish with them ..in a sense give them an new enviroment and life!..
He sensitively readdresses this situation by exploring a variety of seemingly new flower rests as he calls then or flower supports, supports that one presumes have been the foundation of Japanese ikebana traditions for centuries to acheive this. To do so he shows us his arrangements with flowers and leaves, buds and blossoms leaning snugly against crossed twigs, standing strongly amogst a tracery of branches , in split bamboo places, surrounded by fine twigs, ringed in strong leaves, placed at certain angles and balanced in delicately balled root systems soft ,mosses, binding grasses..the examples go on to fufil his title , one hundred forms of Hanakaburi. His ideas and practices are refined and simple and pure in a way we wonder why we dont see more of them being used.
There is no claim by him either that that these methods are entirely original but we feel the the point is that he is directing our gaze to wards flower arranging in another way showing us, how old methods can be refreshing and worth reviving.
Perhaps by following his example we can maintain an extra sensitivity towards our materials which after our working with them allow them to shine in their own natural beauty.
He sensitively readdresses this situation by exploring a variety of seemingly new flower rests as he calls then or flower supports, supports that one presumes have been the foundation of Japanese ikebana traditions for centuries to acheive this. To do so he shows us his arrangements with flowers and leaves, buds and blossoms leaning snugly against crossed twigs, standing strongly amogst a tracery of branches , in split bamboo places, surrounded by fine twigs, ringed in strong leaves, placed at certain angles and balanced in delicately balled root systems soft ,mosses, binding grasses..the examples go on to fufil his title , one hundred forms of Hanakaburi. His ideas and practices are refined and simple and pure in a way we wonder why we dont see more of them being used.
There is no claim by him either that that these methods are entirely original but we feel the the point is that he is directing our gaze to wards flower arranging in another way showing us, how old methods can be refreshing and worth reviving.
Perhaps by following his example we can maintain an extra sensitivity towards our materials which after our working with them allow them to shine in their own natural beauty.
$85.00
Tropical Colors, The Art Of Living With Tropical Flowers
An engineer turned floral artist, Sakul Intakul is the owner of Sakul Intakul Studio, a design studio, and Sakul Flowers, a flower shop in Bangkok. He is a regular contributor of magazine articles, and he arranges flowers for the Queen of Thailand and many leading hotels and restaurants in Bangkok. Wongvipa Devahastin na Ayudhya was educated at the Rajinee Lyceum, a school sponsored by the royal family in Bangkok, where she learned the Thai arts of flower display and decoration. She is a self-taught interior designer, a skilled gardener, and the co-author of Contemporary Thai.
Luca Invernizzi Tettoni has lived and worked in Asia since 1973. He specializes in photographing the cultures and landscapes of Asia and has collaborated on numerous books on Thailand and other countries in the region
Illustrations: over 200 color photos
Page Count: 176
Binding: Hardcover
Trimsize: 9 X 10
$35.00