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Summary
Summary
An inspiring, practical and gorgeous guide to crafting the most realistic and artful paper flowers for arrangements, art, decor, wearables and more, from San Francisco botanical artist Tiffanie Turner.
The Fine Art of Paper Flowers is an elevated art and craft guidethat features complete step-by-step instructions for over 30 of Tiffanie Turner's widely admired, unique, lifelike paper flowers and their foliage, from bougainvillea to English roses to zinnias. In the book, Turner alsoguidesreaders through making her signature giant paper peony, shares all of her secrets for special paper treatments, candy-striping, playing with color and creating botanical imperfections, andshows how to turn paper flowers into gorgeous garlands, headdresses, bouquets and more. These stunning creationscan bemade from simple and inexpensive materials and the book's detailed tutorials and beautiful photography make it easy to achieve dramatic and lifelike results.
Author Notes
TIFFANIE TURNER is a licensed California architect, fine artist and instructor in the art of paper flower making in the United States and worldwide. Her work explores nature and botanical specimens in extremely large and sometimes very small scales, in paper. Her work has been exhibited in the San Francisco Bay Area's Bedford Gallery, Jack Fischer Gallery, the San Jose Institute of Contemporary Art, and at the de Young Museum in San Francisco, where she was the artist-in-residence. Tiffanie has appeared in Vogue , American Craft , the San Francisco Chronicle , and O Magazine and has been featured online on Design*Sponge, The Jealous Curator, and Poppytalk, among others. Raised in the woods of New Hampshire, Tiffanie now resides with her husband and two children in San Francisco, California, where she has lived for the past twenty years.
Reviews (4)
Publisher's Weekly Review
Artist and architect Turner dispels the misguided notion that crepe-paper flowers are for pep rallies and pom-poms in this illuminating DIY book. Combining the skills and aptitude befitting her dual careers, she offers a study in the use of delicate papers, precision tools, wire, hot glue, and various blending brushes to create botanical imitations that one is hard-pressed to distinguish from the real thing. The book is laid out in a series of tutorials that include templates for specific flower types, information about required tools, and step-by-step instructions. Specialty sections further elaborate various techniques on how to work with color and create additional elements such as leaves and buds. The author also includes an additional section about creating items for costuming and hairstyling. Under the mantra "You must make what you see, not what you think you see," this book guides artisans to astonishing results. Color photos. (Aug.) © Copyright PWxyz, LLC. All rights reserved.
Booklist Review
Turner has spent years perfecting her technique for creating flowers from crepe paper, wire, and glue, focusing on making realistic (but not 100 percent botanically accurate) creations that evoke the real thing. Lest one think that crepe paper is just one thing, she recommends seven types which can be worked in seven different ways to create varying looks. A number of familiar blooms are included, such as bougainvillea, carnation, daffodil, morning glory, and a variety of roses. Even the humble dandelion is here. A chapter outlines the leaves, stems, and buds that complete the look of each faux blossom, with specific details provided for each type of plant. Most of the book is focused on creating stemmed flowers appropriate for arranging, but instructions for several other specific uses are also provided: garlands, boutonnières, bouquets, crowns, fascinators, and headdresses. A final chapter describes creating giant flowers using balloons and papier-mâché to form an inverted base from which the petals grow. Projects range in complexity from easy five-minute activities to complex creations that may take hours to complete.--Heidemann, Anne Copyright 2010 Booklist
New York Review of Books Review
MAY BE THE VIBE was in the air, during the anniversary of a long-ago summer of love, when I planted several irresistibly eccentric beauties. A nodding hippie of a plant, Datisca cannabina is a woody perennial with vaguely cannabislike foliage; it sports pendulous, shaggy, fragrant wands of flowers that set chains of love-bead seeds. It occurred to me that if I were gardening one toke over the state line, in Massachusetts instead of Rhode Island, I could have been digging the real thing. And just in time to help the bud tenders among us comes a weirdly fascinating volume, the LEAFLY GUIDE TO CANNABIS: A Handbook for the Modern Consumer (Twelve, $27). It was just a matter of time before a new generation caught up with the renegades of my generation, many of whom started getting high on gardening by tucking their herb among innocuous houseplants, hiding it in sunny corners of backyards or growing it under basement lights. Leafly, based in Seattle, calls itself "the world's largest cannabis information resource." Millions visit its website and mobile apps every month. The guide promises "clarity and understanding" of a plant that has been around since the end of the Pleistocene epoch. There's nothing laid back about Big Ag pot, a new kind of cultivated landscape that may soon stretch from sea to shining sea. In a paean to free-market capitalism, Leafly explains that legalization in some states has brought about a "vast expansion" in plant material - growers can now choose among hundreds of varieties, including White Widow and Durban Poison - as well as higher quality and lower prices, because of market efficiencies and competition. Indica strains are sedative, sativas are invigorating, and hybrids fall somewhere in between. What ends up in your stash jar are the flowers of a female plant. The authors describe how cannabinoids "work their medicinal magic" (magic being a good marketing approach) and how THC affects us. The pot being smoked at Woodstock probably featured THC concentrations of around 3 percent; with today's genetic modifications, "potent varieties clock in at nearly 30 percent." Kief, terpenes, decarboxylation and vaping concentrates: There's more evocative fetishistic language attached to these buds than most others in a farmer's world. You'll find cooking hints and beauty tips, even recommended munchie pairings. The health effects of smoking are lightly covered: There's no clear link to lung cancer, but definite "physical airway damage" and compromised cardiovascular function. I don't see how health nuts groove on lungsful of polycyclic aromatic hydrocarbons. The book could have included at least a paragraph about the effects of marijuana on the developing brains of adolescents. But that's a bummer. For those interested, I recommend Kevin P. Hill's "Marijuana: The Unbiased Truth About the World's Most Popular Weed." I find my bliss in Japanese gardens, and books about this refined and evolving form of art keep coming and coming. Sophie Walker's the Japanese garden (Phaidon, $69.95) is an ambitious survey, set in a framework that's both historical and thematic ("Death, Tea and the Garden," for instance, which sounds like something Thomas Mann would have enjoyed). Its elegant photographs are accompanied by impressively eccentric essays. In one of my favorites, the architect John Pawson writes about the ability to "feel an intimate connection with boundless landscape - as though it is passing through you and you through it" - in the smallest of the Kyoto gardens that entranced him. He captures, exquisitely, the balance and rhythm of moving through these rigorously controlled spaces. The sculptor Anish Kapoor weighs in with thoughts about gardens that don't just reveal meaning but instead "come into" meaning. And the mathematician Marcus du Sautoy gets really far out with the power of fractals in those ferns and rocks so carefully set in the Japanese garden - all of this tied to the Pixar classic "Up." I wish this book could be three times as long and as large. If that Strawberry Cough strain in the "Leafly Guide" has loosened your tongue, it would be very cool to recite a litany of the quirky collective nouns we've bequeathed the animal kingdom. Study up with a charm of goldfinches: And Other Wild Gatherings (Ten Speed, $14.99), by Matt Sewell. Beguiling watercolors depict land, air and water creatures, including an obstinacy of buffalo, an unkindness of ravens and a smack of jellyfish. Sewell's descriptions are marvelous - explaining when gaggles of geese become skeins of geese, or why swirling hawks suggest boiling water in a kettle. I can just hear him shouting to his wife and daughters that "we have a bellowing of bullfinches on the bird feeder, quick!" This is a book of delightful oddities, and don't we all need more of those in our lives? To that end: In the '60s and '70s, J. R. R. Tolkien's 1937 classic, "The Hobbit," was part of every self-respecting freak's portable library. The father-and-son team of Walter S. Judd, a biologist, and Graham A. Judd, an artist, enjoyed the "Lord of the Rings" cycle together, "immersed in Middle-earth ... transported to a wondrous land." But in flora OF MIDDLE-EARTH: Plants of J. R. R. Tolkien's Legendárium (Oxford, $34.95), the Judds make the case that these tales offer more than an escape from reality. Instead, they're meant to have an influence on "how we interact with other individuals and with the world in which we live - including the landscapes of our natural environment." What follows is an exhaustive accounting of the trees, shrubs, herbs and other plants in Tolkien's Middle-earth - the plants of our world and those, like the White Trees of Göndör, of the elven world. Tolkien was a writer who confessed to being "much in love with plants and above all trees"; the Judds note that plants appear on nearly every page of "The Hobbit" and "The Lord of the Rings." I found myself transported by their discussion of "plant communities, as altered by hobbits, humans, elves or angelic beings." Those Hobbits were "good agriculturalists," growing hemp for its fiber, maintaining lawns and gardens and also struggling with weeds. Take heed, ye great corporate polluters of today, lest you lead us to the gates of the defiled land of Mordon I'm with the young Ent called Quickbeam, who considers trees to be "beautiful friends with cool and soft voices." This volume, with its handsome and haunting woodcuts, is best appreciated in small doses. It's heady stuff, quite concentrated. But it made me blow the dust off my copy of "The Silmarillion" and add it to my stash of winter reading. Get your head into the clouds with aerial geology: a High-Altitude Tour of North America's Spectacular Volcanoes, Canyons, Glaciers, Lakes, Craters and Peaks (Timber, $29.95). What better way to introduce geology to any reluctant science student than a book full of breathtaking "who knew?" moments. Luckily, the writer and mountaineer (and, appropriately enough, resident of Big Sky Mont.) Mary Caperton Morton knows. Take in the natural splendors of the view from an airplane window: This generously photographed volume even offers flight patterns that will reveal our earthly treasures. The world's largest piedmont glacier, Alaska's Malaspina - which is, of course, shrinking as our world dangerously warms - is still so heavy "that the bottom has sunk nearly 1,000 feet below sea level." The Teton Range in Wyoming is "North America's youngest mountain range, made of some of the continent's oldest rocks." Three-hundred- million-year-old seafloor fossils were brought to the surface by uplift and erosion in Virginia's Blue Ridge Mountains. And the New River Gorge in West Virginia is one of the few northflowing waterways in North America. The 200-million-year-old sandstone at Canyon de Chelly in Arizona is a sacred Native American site. A steep trail down to the canyon floor takes you to the White House Ruin, witness to a brutal episode in America's 19th-century history. Come down to earth and head for the GREAT HIKING TRAILS OF THE WORLD (Rizzoii, $50), featuring 75,000 miles of trekking on six continents. Brought to us by Karen Berger, with an assist from the estimable American Hiking Society, this volume offers several lifetimes of bucket lists. Those who want to stick close to home might visit the Appalachian Trail, with its "tired mountains, worn down by time"; what it lacks in grandeur, it makes up for with "a unique diversity of landscapes, some of which are found nowhere else." For those wanting a mind-meld with Bilbo Baggins, or at least a challenging hike, try Te Araroa in New Zealand, one of the most "geothermically active places on earth." In years past, Robert Llewellyn has blown our minds with the indelibly detailed photographs in "Seeing Trees," "Seeing Flowers" and "Seeing Seeds." In the LIVING FOREST: A Visual Journey Into the Heart of the Woods (Timber, $40), he has teamed up with Joan Maloof, the founder and director of the Old-Growth Forest Network, to peer into the mystery and magic of our woodlands. Too often, we take for granted what their preface calls the "thin and lovely membrane" that is our biosphere. Llewellyn and Maloof turn our gazes up into the forest canopy, where we find elegant herons and snazzy bluebirds in flight. We peer into the eyes of eagles, which can see for miles, and wonder, along with the authors, whether trees are sensitive to starlight. As Llewellyn and Maloof remind us, trees are "the lungs of the land," and as such they've been woefully underappreciated; they're the best mechanism we know of to suck up the pollution that's warming the entire planet. Llewellyn also reminds us of the sheer beauty of our surroundings as he catches the fetal curl of a leaf in midfall. Among the most alluring of his images are the golden portraits of larval salamanders. But there's not enough here about insects: 1 hope that will be a future project, one that's sorely needed. We aren't doing nearly enough to protect our fellow creatures, whether rooted or roaming. And we fail to do so at our own peril. THE TREES OF NORTH AMERICA (Abbeville, $49.95) features, for the first time in one volume, the botanical engravings of Andre and François-Andre Michaux, along with other treasures held in the renowned collection of the New York Botanical Garden's Mertz Library. Its director, Susan Fraser, describes the arrival, in 1785, of the fatherson team in New Jersey, and then in Charleston, where they propagated trees for export to France. Alas, Marie-Antoinette neglected her saplings (among other things) and declined to give further funding, so the team, in an inspired bit of marketing, prepared engravings from drawings by Pierre-Joseph Redouté and others. "The North American Sylva" was later revised by the English naturalist Thomas Nuttall. This volume's handsome plates feature forthright, detailed drawings; you can almost feel the sheen on the acorns of the cork oak or the shaggy surface of the Bristlecone fir. And who, who, who is out there in the forests with us when we linger past dusk? The owls, of course. For years, I've been trying to set eyes on the owls in the trees around my house, to no avail. Great horned duets wake me out of a sound sleep. Sometimes 1 can't resist tipping my head back and joining in the calls. But the owls remain elusive. So thank you, David Tipling, for the sumptuous, endearing and terrifying photographs of these uncanny creatures in the ENIGMA OF THE OWL: An Illustrated Natural History (Yale University, $40). And Mike Unwin's authoritative descriptions of the owl way of life are fascinating. When not hunting (snakes, frogs and voles hang from their beaks), they preen adorably, peer from nest holes in the trunks of trees or plunge through snow in pursuit of prey. They have such wonderful round faces, with disks around their eyes that work like satellite dishes to capture and direct an astonishing range of sound to their ears. And those eyes! The golden orbs under the furrowed brow of the great horned owl are mesmerizing. If 1 could, Fd fly away with a parliament of owls. For the time being, 1 remain earthbound, but that has its pleasures too. Apples, for starters. Every autumn, 1 haunt local orchards, eager to pick bushels of my own. And every year brings more varieties, so I'm going to keep a copy Of APPLES (Countryman, $18.95), by Roger Yepsen, in my glove compartment as a reference. His beautiful watercolors are enough to trigger anyone's munchies. In these pages, we learn that the Macoun "just doesn't sing if picked before ... late September or October" and that Pink Lady won't turn to mush in a pie. Yepsen warns that bigger apples mature more quickly, so if you opt for them at the supermarket their firmness and texture are likely to be "on the way out." And he says not to worry about the "corky" brown texture on the skin of certain varieties since "russets tend to be spicier and have more character than the average apple." You never know what will give someone a hankering to garden. One young man of my acquaintance, who doesn't much like to get dirt under his fingernails, has become enamored of succulents. And it seems that they're the chic plants of the design world right now. The primly tasteful PRICK (Mitchell Beazley, $19.99), by Gynelle Leon, offers useful advice on choosing, styling and caring for cactuses and succulents - with the emphasis on styling. Each plant in this primer is shown nested in a simple pot, often banded with a clean white stripe. Though the pricks of their spines will harass, as that is their nature, somehow the pretty presentation makes the whole enterprise seem neatly manageable rather than messy, providing a comforting illusion of control to the neophyte. But just wait till that prickly pear outgrows its elegant crib. Speaking of elegant, does the Bay Area now hold the greatest concentration of creatively refined gardens in the country? ft would seem so, judging by the captivating photographs of Marion Brenner in PRIVATE GARDENS OF THE BAY AREA (Monaceiii, $60). The hard-working team of Susan Lowry and Nancy Berner has previously published books about New Jersey and Hudson Valley gardens; this volume is especially satisfying in its breadth and variety. Admire the looser, larger interpretation of Japanese aesthetics in a courtyard garden overlooking San Francisco or the dreamy light filtering through the ancient trees in the St. Eden Garden near Oakville, with its soft gray mounds of olive, lavender and teucrium - a bit of Provence. The pool on the Berggruen property goes right into my "dream file." An artful moss collection, improbably displayed in boxes and on logs, graces a porch in Glen Park, while steel and concrete planters snake up a cliff on Telegraph Hill to reach a staggering view. Californians draw inspiration from around the globe - but then they do their own thing, to dazzling effect. Just in case this turns out to be your winter of discontent, fire up the glue gun, unfurl the crepe paper and turn on to the fine ART OF PAPER FLOWERS (Watson-Guptill, $25). 1 kid you not: Tiffanie Ttirner's creations are exquisite. Her D.f.Y. instructions for handmade marigolds, roses, dianthus and daffodils are meticulous. How soothing an activity this turns out to be will probably mirror where your cravings fall on the indica-sativa scale; I personally wouldn't try this at home. But I will forever admire the angelic creatures among us who are able to pull poppies out of paper. They're almost as miraculous as those beauties we so hopefully coax out of the soil, generation after generation, through many more summers of love. DOMINIQUE BROWNING, the founder and director of Moms Clean Air Force, works at the Environmental Defense Fund.
Library Journal Review
Turner, an artist, architect, and paper flower-making instructor, has compiled some beautiful projects for her first book. It starts with coverage of crepe paper varieties, the main material, then offers information on other materials and needed tools. A list of paper suppliers is included. Projects progress from simple to complex, and include step-by-step instructions with accompanying photos. Among the designs are bouquets as well as flower constructions to wear and giant paper flowers. Despite the instructions and photos provided, the process of constructing the flowers is quite complicated. Yet the resulting creations are stunning and very realistic. VERDICT Recommended for confident crafters up for a challenge. © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
introduction For the past four or five years, I have spent most of my days and nights standing in a pile of paper scraps in our San Francisco flat, making paper flowers big and small. Because we are in close quarters, everyone in my unbelievably patient family has had a role in my career as a paper artist, whether as an idea person, a janitor, or both. This book, which provides instruction on how to make all of my favorite crepe-paper flowers, as well as some wonderful projects using the flowers to adorn your body and home, is the fruit of that labor. As seriously as I take this craft, paper flower making is far from rocket science. While I give detailed instructions and specific techniques for making botanically accurate specimens in this book,I really want you to enjoy the journey and feel free to be creative. The supplies needed are simple and few in number. When I first started making flowers, I worked with the same range of supplies I do now: a roll of crepe paper, a length of wire, and a bit of glue. If you can't wait for crepe to arrive in the mail, start with bougainvillea made of party streamers. If you are out of wire, grab a coat hanger or wooden skewer. There are more materials available on the market than I use myself, and doing the work of creating paper flowers, using your hands, and learning the process are more important than using the perfect supplies. I encourage you to approach each flower as a project unto itself. The tutorials range from "very easy" to "not very hard with a little practice." There are flowers in this book that can take five minutes, and a few that can take five hours or more. They have been grouped primarily by the techniques you will use to make them, which loosely relate to how they grow botanically. If this is your first foray into paper flower making, start with the tutorials in "Basic Techniques & Starter Specimens" (page 21) and then the hybrid tea rose tutorial (page 59) from "My Favorite Roses." These should build your confidence fairly quickly, but be patient with yourself at first, and use artistic license when you need to. The biggest piece of advice I give to my students and anyone else seeking my help with paper flower making has always been this: In order to achieve the desired results when working in realism, you must make what you see, not what you think you see. This means working from real floral specimens, or even flowers depicted in art, whenever possible and trying to not get lost in the repetition in the form of a flower when so many flowers are actually quite irregular. It means paying attention to the details and the organized chaos that is nature and avoiding making assumptions when trying to re-create the natural world. There are as many glitches in the head of a flower as there are orderly rows of petals, which I try to recognize in my work. To assist in this, I spend a good deal of time in the tutorials talking about how to groom the petals in just the right ways, stretching, folding, and often crumpling the paper so that it catches the light and the petals appear as they would in nature. Several of the tutorials walk you through petal placement to help you attach them in the most realistic patterns and avoid the look of a flower made on an assembly line. Details like these mean a lot to me, and if you pay attentionto them I promise you great results. My hope is that you will learn the skills to capture flowers the way you see them and that you will parlay those skills into making your own templates and techniques for new flowers and creations, if you so desire. Excerpted from The Fine Art of Paper Flowers: A Guide to Making Beautiful and Lifelike Botanicals by Tiffanie Turner All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.