What this masterclass covers
Colour is often the first thing people react to in a floral arrangement and the last thing many designers feel confident controlling. Choosing flowers by instinct works up to a point, but it tends to produce similar results repeatedly.
The practical problem with colour in floristry
Flowers do not behave like paint. Two flowers described as the same shade of pink can read entirely differently once placed together, depending on their undertones, the light source, and the surrounding colours. This course addresses that gap between colour theory as it is usually taught and colour as it actually appears in plant material.
Structure of the workshop
Day one focuses on observation and analysis. Participants work through a series of exercises using cut samples rather than full arrangements, examining how individual stems interact with adjacent colours under different lighting conditions. The afternoon session introduces palette-building as a deliberate process, working from a brief rather than from personal preference alone.
Day two moves into full arrangement work. Each participant completes two compositions: one following a restricted palette and one with a broader range. The restriction exercise is often the more instructive of the two, as it requires solving visual problems with limited options.
Who benefits from this format
Florists who feel their arrangements are technically sound but lack visual coherence. Designers who default to the same colour combinations. Anyone preparing to work with client briefs that specify particular colour directions.
The workshop is held over a Saturday and Sunday, nine in the morning until four in the afternoon each day. Lunch is not provided. All flowers and supplementary materials are included in the course fee.
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