Gregor Lersch Book order

Floral diminutives are living little gems that just ask to be given some of our precious attention. They are small gifts for a variety of different occasions that will surprise the recipient. And as well an opportunity to give pleasure without putting the person in our debt. They are handed over delicately clasped between fore finger and thumb, they are conjured from one's sleeve, they are used to make another present even more special, or to say "thank you" or "I like you". Or, we may just fall in love forever with one or the other of these fantastical mythical creatures. Floral diminutives are simply different; but very authentic. Gregor Lersch discovered them for himself and with the help of his new book also for all friends of floral culture. He presents this contemporary addition of traditional floristry by means of more than 100 examples and with a lot of helpful hints and remarks

This study book deals extensively with the design of floral arrangements for Advent and Christmas, as well as with a range of effective forms for exhibition presentations. Above all, the particular techniques needed for technically sound execution are described in detail, so that they can be followed systematically. Using the obligatory FloralDesign Edition fold-outs, this study book also gives the reader a second easy to use overview of a comprehensive list of all the techniques. Some techniques that recur frequently in Advent and Christmas floristry are described separately; as are the techniques for making certain parts of an arrangement, e.g. candleholders, multi-pronged forks, etc. Practical tips and detailed elucidation of technical terms complete the explanations. Since different design intentions often require different craft techniques, it is important for us to illustrate not only the various arrangements and the techniques for their execution, but also to explain which individual design decisions were responsible for the final form. ”Form follows function“ was one of the Bauhaus maxims which still applies today. Following Kant one could also ”Form without content is empty. Content without form is blind“. In this sense - and providing references to several other text books – we keep on reminding the reader of the connection to the core design issues.

Gregor Lersch has analyzed the main contrasts in floristry which are used to steer emotion. Using many step-by-step examples, he illustrated the possible transformations and nuances. The examples are designed to help identify what happens when we make certain changes, so that the designer is able to make informed decisions between harmony and contrast, and is thus able to develop a feel for the correct dosage at a given moment. In this way he becomes more and more skilled in the application of an elementary design principle.--COVER.

Whilst the first sketchbook drew from "Sources of Creativity" and tried to illustrate the various starting points for floral inspiration, SketchBook No 2 now is concerned with two aspects of learning in particular that are contained as key concerns in the individual sketched following on "Floral Craftsmanship" the emphasis here is especially on artistic and technical aspects, but also on the criteria for design methods. The reader can always follow the intentions and make them relevant for his own work. At the same time the sketches leave enough room that each person can develop their own creative ideas, by using different materials, for example, putting their own ideas about col-our into practice, changes textures, propor-tions and movement, or creating new forms. If this is facilitated this book was worthwhile. The sketches of Gregor Lersch's thought processes are organised according to the various uses of the pieces such as space defining pieces, floating pieces, hanging pieces and horizontal pieces, inspirations for gifts and themes such as bound pieces in the form of bouquets and free standing arrangements. Gregor Lersch introduces a new dimension of pieces that are known as "communicative pieces" in English. They thematise, inspire communica-tion and open up space for inspiration for one's own creative thought processes - as provided by this entire book.

The exotic beauty of orchids is a perpetual source of fascination. Their variety and perfect shape is breath-taking. And this seems to become the reason for the difficulties experienced by designers when they confront orchids in their floral arrangements. Designers are certainly overshadowed by the strong personality of orchids. But designers should be able to enhance even this effect provided they find the right setting for the plant. Orchids are able to project themselves effortlessly. Thus what they need is simply a platform on which they can strut their thing. In this book Gregor Lersch provides a whole range of ideas about how these idiosyncratic individuals can be adequately displayed both as pot plants and as cut flowers. These 15 chapters contain more than 100 arrangements created for a variety of occasions. Gregor Lersch interprets these strong orchid personalities in his own unique style, assisted by Yen-lin Hung, who wrote a separate chapter containing much useful information about the orchid family and the type of care that has to be given to the various species and varieities. This book will appeal not only to committed orchid lovers but will inspire many with its unique insights.

Text in German and English. Every year, the Lerschs decorate the historic facade for the festive season. Created in many weeks of intensive and fine craftmanship by creative and dedicated young floral designers. Inspired and commented in 15 chapters by Gregor Lersch.

Classic cut flowers such as roses, carnations, hydrangeas, elatior begonias, cyclamen, orchids, azaleas, chrysanthemums, herbaceous perennials & co always place great demands on florists. Brigitte Heinrichs and I specifically set out to present their beauty attractively in a modern environment. Through the reduced use of additional plants, which provide a backdrop for the classic blooms, the plants are given more room to breathe. They can be seen to full effect and are not oppressed by competing plant or non-organic material. I think that one of the most difficult tasks is to place them as potted plants in a structured, colourful and aesthetically pleasing way which suits their environment. Presentation in palettes does not suit them at all, and may – with cut prices on huge boards – be a selling point for general retailers, but not for specialist florists.