AU2007202196A1 - Soflopro - Google Patents

Description

AUSTRALIA

Patents Act 1990 COMPLETE SPECIFICATION STANDARD PATENT

SOFLOPRO

(SOftware FLOwer PROgram) The following statement is a full description of this invention, including the best method of performing it known to me

SOFLOPRO

The technical field that the Soflopro pertains to is the floristry industry, interior design, teachers and students, graphic design, decorative event industries, funeral parlours, wedding planners. The Soflopro can be used by people that are already industry specific, and used by people that have a general interest in the floral art field. There are printed books, videos, cd roms and dvds available to enhance learning within the floral art field, O as well as applying practical structured lessons that are taught at a specific institution.

But I believe at this point in time there is not a practical software method application Savailable, to help create an interest in developing and furthering a career in floral art.

The Soflopro would be purchased initially to peruse before a career course is pursued.

The Soflopro can also be used for the sheer enjoyment of designing floral arrangements Svirtually, and would help the user to develop an understanding of floral design and flower placements, by following numerical prompts.

The working technical features of the Soflopro requires a software program to be specifically written and formatted for a compact disc, and may not be limited to whatever electronic portable devices, that would be used for storing this specific type of data. The Soflopro would be written in the English language, but would not be limited to that language. Other world languages may be applied to the Soflopro. Funeral, Wedding and global floral designs and techniques could be added to and incorporated within Soflopro as an addendum at a later stage. All measurements are given in a metric form.

The concept that I would like to convey by using the Soflopro method, is that the user will be able to decide, design, print and practically make a floral arrangement. This would be achieved by practically applying the same techniques that have been learnt and studied by the user, by copying the finished printed image that the user has previously designed using the Soflopro method. A fresh or artificial arrangement can be created.

Features of the Soflopro are contained within FRESH STOCK AREA A Fresh Stock Area contains all of the flowers and botanicals that are listed in the Soflopro Flower Index. These flowers and botanicals would be set up into various heights and flower groupings, establishing the tallest flowers at the back of the display, with the medium heights in the middle of the display, and the shortest bunches at the front section of the display. The user would be able to navigate around the bunches, to simulate a feeling of choosing the correct flower for the appropriate task. Heads of flowers would also be available for specific design tasks.

DESIGNATED WORK AREA Soflopro contains within a Designated Work Area. This is an area where the actual work tasks are done. This area has the appropriate tables and benches that are set up to accept the Soflopro Set Designs or the Soflopro Freestyle Arrangements. This work station area would have some sundry items displayed for the user to choose from, being the flower foam, wire and secateurs, flower binding tape.

SET DESIGN AREA Soflopro contains within a Set Design Area. This area is where the user would navigate to, for the purpose of helping to assist the user in deciding which particular style of Set Design to choose from.

SUNDRY AREA Soflopro contains within a Sundry Area. This area is where the user would navigate to, for the purpose of choosing specific sundry items that are listed in the Sundry Index.

SUNDRY INDEX Soflopro contains within a Sundry Index. This index consists of small cardboard boxes, medium sized cardboard boxes, large sized cardboard boxes, baskets of various sizes, ceramic containers, plastic coloured buckets, glass vases of various heights and shapes, florists wire in different lengths and gauges, flower foam in various shapes and sizes including heart shapes, circular shapes, cross shapes, oblong shapes, round ball shapes, large flower foam blocks for carving specific shapes, conical shapes.

Coloured ribbons, plain straight edged ribbons, curling ribbons, material and lace ribbons, decorative medium ribbons, scissors, paper, cellophane, wrapping mediums, raffia, decorative gift papers, flower binding tape, sticky tape, fine bowl tape, glue, hot glue gun, planter pots of various sizes of air filled balloons and helium balloons, various small soft toys, assorted chocolate boxes, small amounts of gift hamper items.

FLOWER INDEX Soflopro contains within a visual flower and botanical index. This index contains the following flowers and botanicals.

Agapanthus, ageratum, albiflora, agave neomexicana, apple tree blossom branch, arabs eyes, almond tree branch, alstroemeria, amaranthus, andromeda, anthurium, artichoke, arum lily, aster, bamboo stem straight, bamboo stem twisted, bamboo leaf dried, banana bunch, banana leaf, banksias coccinea, banksias integrifolia, banksias serrata, banksias prionotes, bark scoops, bark dried pieces, basil, berry foliage, billy buttons, bird of paradise, birds nest plant foliage, blackboy grass, blue gum foliage, blossom branch, blushing bride proteas, boat bark, boronia brown, boronia pink, bougainvillea pink, bougainvillea red, bougainvillea white, bouvardia longiflora, brassica oleracea, box foliage, broom foliage, bull rushes, burawong leaf, byfield fern, cactus golden barrel, cactus echinopsis, calendula, calla lily yellow, calla lily burgundy, canna lily foliage, camellia japonica pink, camellia japonica red, camellia japonica white, candytuft, cane palm golden foliage, canterbury bells, carnation field in red, yellow, white, pink, apricot, burgundy, carnation spray in red, yellow, white, pink, burgundy, apricot, carnation sim in red, yellow, white, pink, burgundy, apricot, cinnamon quills, cattleya orchid, pink, mauve, yellow centres, celosia, chestnut foliage, Chinese lantern lily, chilli plant, chilli bunches, red and multicolored, chrysanthemum field white, yellow, green, brown, pink, mauve, chrysanthemum disbud, citrus fruits, coconut, coconut fibre, cordyline red foliage, columbine, corn cob, corn husks, cornflower, croton foliage, curly lettuce, cyclamen plant, cymbidium orchid large flowering, cymbidium orchid miniature flowering, pink, mauve, yellow, white, brown, burgundy, cypress pine foliage, daffodil, dahlia, daphne, delphinium, dieffenbachia foliage, dodda vine, dried lotus leaves, dryandra, easter daisy, echeveria imbricata, elegia capensis, emu grass, erica pink, erica white, fern asparagus, fern coarse, fern fishbone, fern leather, fern ming, fern umbrella, fennel foliage, fig fruit on branches, firewheel leucospermum, foxglove, frangipani, frangipani foliage, freesias, geraldton wax, geranium foliage, gerbera, ginger beehive, ginger foliage, ginger lily, ginger root, ginger torch, gladioli grandiflora, gladioli miniature variety, gloriosa superba rothschildiana, graptoveria variety, grevillea, green goddess lily, godetia, golden rod, gourds ornamental, grasses ornamental, guzmania, Gymea foliage, gypsophilia, heath, heleborus, heliconia lobster claw, heliconia psittacorum, hibiscus, hippeastrum, holly foliage, honeysuckle, hosta foliage, hoya flower, hoya foliage, hyacinth, hydrangea, hypericum berry foliage, iris bearded, iris day, iris dutch, ivy, ixia, jade plant, jasmine flower and vine, jasminoides large variety, jonquils, juniper berry foliage, kalmia, kangaroo paw, kale, koala grass, kangaroo tail, lambs ear foliage, larkspur, laurel foliage, lavender, lily of the valley, lotus pod on stem, lotus pod dried leaves, lisianthus, liatris, lilac, lily asiatic, lily oriental, lily christmas, lily regal, lupins, leucadendron sylvan red, lichen, love in the mist, maiden hair fern, magnolia grandiflora, magnolia branch, maranta foliage, marigolds, matricaria, mistletoe, misty blue, misty white, mollacca balm, monstera deliciosa fruit, monstera delicious foliage, moss, mother in law tongue foliage, narcissus, nerine pink, nerine white, nerine red, nandina foliage, old mans whiskers foliage, olive tree foliage, orchids dendrobium, orchid phalaenopsis, orchid slipper, oak foliage, ornamental pineapples, passionfruit vine foliage, pineapple lily, pears miniature, peony roses, persimmon branches, pinecones, pumpkin ornamental small, pomegranate, poppies, prickly pear paddle, protea compacta, protea cynaroides, protea grandiceps, protea longiflora, queen anne lace, queen fabiola, quince ornamental, ranunculus, rhododendron azalea, rose varieties, rose hips, rosemary, sage, scabiosa, sea holly, seed pods, shasta daisy, smokebush, snake bamboo, spear grass, snapdragons, snowdrop, spider lily, stephanotis, stock, sunflower, sweet pea, sweet william, teasel, tulips variety, tuberose, tiger lily, udders cow, wallaby tail, waratah, water lilies, watsonia, wheat, windflower japanese, willow pussy, willow twisted, zebra grass, zinnia.

This section contains within a general knowledge section relating to how certain tools and products are used while designing floral arrangements.

Wire wire is used in some applications, and can be wound around stems of flowers, or pushed through the calyx of flower buds for specific techniques, such as designs for weddings or funerals. This is done for the specific task of strengthening the stem of the specific flower. This wire may also be used for supporting a stem for strength, and to raise a height if a flower is too low. Wire may also be used for winding flowers together for a grouping 'clump', for a desired effect. Wire can be different lengths and gauges, being that the higher the number, the thinner the gauge. Wire is also used for holding base mediums into place, onto a floral composition, such as moss.

Mechanics The mechanics of a floral composition consist of materials that helps to tie, secure, pin, staple, glue, bind, strengthen stems and flowers or botanicals to a specific medium. The user would try to cover the specific mechanics in order to produce a more visually pleasing composition. The base mechanics of a composition can be covered by foliages, moss, bark, pebbles.

Florist Plastic Bowls Small, medium and large size plastic bowls are used to secure the flower foam into. The plastic bowls have a plastic open weave guard that is slightly stretched and placed on top of the flower foam, which has been cut to size to fit into the 4

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appropriate bowl size. The open weave design of the guard gives the user enough space and surface area of the flower foam to position flowers and botanicals easily throughout, without compromising design space. To fit the guard, it has a small shape that fits snugly into a corresponding slot shape on each of the four sides of the plastic bowl.

When the guard is fitted by the previous method, the flower foam will be held into a stable position. Some people prefer to use a specific floral tape for this purpose.

N Florist Binding Tape This type of tape is used to bind wire to appropriate stems for C strength. For creative design tasks such as wedding designs, this tape would be used.

This tape is not sticky as such, but when the appropriate task of stretching the tape is applied, but not so hard as you may break the tape, the tape can be wound around the appropriate stem to start the process of stretching and pulling the tape. As this is done, the user is winding and twisting the tape around the stem, pulling further downwards to Sthe bottom point of where the tape may finish. The user keeps winding and pulling and 15 stretching the tape around the stem, working to cover or bind the appropriate section of the stem, flower or botanical. This tape is wound and stretched around itself two or three times to finish and secure the task. This tape is then snapped and pulled apart quickly.

This action has effectively snapped the tape from the stem. A gentle twisting massage around the end of the snapped tape secures the finished section. Small wooden pegs or picks can also be taped in this manner, to lengthen stems.

Specific tasks that require small pegs or small splints of wood for lengthening flower heads also are taped in the above mentioned fashion. These small splints of wood or pegs have florist wire wound around the top end of the peg to secure the wire two or three times. The florist wire is then inserted into the calyx of the flower or botanical, to ensure a secure flower. The peg end is then inserted into the appropriate design. This part of the peg can be taped, but normally isn't necessary. This tape is generally available in green and white.

Colour Soflopro contains within information referring to colour. Colour is a very personal choice, and the scope for choosing a colour theme or an arrangement can be varied with almost endless possibilities, with small variants of colour separating one hue from another.

The colours that we may perceive and see as warm colours are red, orange and yellow.

The colours that we may perceive and see as cool colours are blue, green and purple.

Colour is almost usually the first recognized form of a constructed idea, in a flower arrangement that people will notice. Some forms of colours that are associated with the seasons, can be explained in this way. A spring arrangement could be associated with lots of bright yellow colours. While orange, browns and red colours may be used to convey a feeling of Autumn.

White may be used to convey Winter thoughts and feelings, and a Summer arrangement may consist of many colours, conveying bright happy emotions. Some people may prefer soft pastel, muted hues and variations on one colour. Other people may prefer bold, bright looking colours. Depending on the occasion that the flowers are required for, will somewhat determine the colour. For example, a wedding party may want to match flowers for a particular dress style and material. The first thing that most people will want to match is the colour. A Christmas party could consist of berries, botanicals and appropriate foliage to suggest a cold weather snowy theme.

There are colours that are designed on a colour wheel that are available for colour ideas.

The colour wheel is based on an artist's theory of colour. The colour wheel is designed in a circular style shape that is segmented into twelve equal parts, with each segment consisting of a different colour. The colour wheel can be viewed while helping to give the user a visual concept, of grouping specific hues together, for the purpose of being able to select what type of colour or colours would be used for a specific arrangement.

The primary colours are spaced at an equal distance on the colour wheel. These colours are red, yellow and blue. These colours are known as the primary colours because you cannot create these colours by mixing any other colours together, to make these colours.

These are pure colours. Other colours on the colour wheel are spaced directly opposite the primary colours. These colours are known as the secondary colours. These colours are obtained by mixing equal parts of two specific primary colours together.

These colours are orange, green and purple. The next group of colours are known as tertiary colours. These colours are red-orange, red-purple, blue-purple, blue-green, yellow-green and yellow-orange. These tertiary colours can be mixed from mixing an equal amount of primary colour with an equal amount of an adjacent secondary colour.

Adding a black colour to another colour produces what is known as a shade.

Alternatively by adding a white colour to another colour produces what is known as a tint. Most commonly the soft pastel colours, such as baby pink, soft lemon colours and colours that have a lighter, softer accent to them, would have derived from a tint.

Certain spacing of the colour wheel have specific names. This is worked out by the specific groupings of a certain colour or colours. Achromatic colours refer to black, white and any gradings of grey colour. Monochromatic colours refer to colours of one hue, but with different gradients of that specific colour. So a red pure hue may have three to five particular values of colour.

Five examples of known colour combination are Complimentary colour refers to a pair of hues that are directly opposite each other on the colour wheel. Analogous colour refers to a grouping of three adjacent hues on the wheel with one colour being the dominant colour. Triadic colour refers to a grouping of three hues which are equally spaced apart on the colour wheel. Polychromatic colours represents a grouping of colours which may be multicoloured and unrelated in any particular order of colour groupings.

Tetradic colours represent a grouping of four colours that are equally spaced apart on the colour wheel. The user could consult library material for extra information regarding the colour wheel.

The Soflopro index can be used as a genesis for selecting items and images which are required for the appropriate tasks. These images can be clicked and dragged using the appropriate components of the user's computer for the purpose of layering and building up of the computer images, that will become parts of the particular pieces that are needed to create a virtual arrangement. The Soflopro can be practically applied and can be used and adapted to create arrangements in the various mediums such as artificial flowers and leaves, silk, polyester, polystyrene, latex, paper, freeze dried, air dried, pressed and hand 6 made flowers. This would be achieved by copying the printed image of the finished Soflopro arrangement, and applying practical techniques to create an artificial arrangement, being that the term artificial applies to flowers that are not perishable.

The Soflopro method requires any level of interest by students, teachers, event planners and floral art enthusiasts, and would be purchased for the personal computer. The Soflopro method can be used by remote communities where fresh material and sundries IND are not easily available and accessible.

The Soflopro method can be used by people that are physically challenged. The Soflopro method is environmentally friendly, as you are designing virtually before creating any real waste of materials.

The Soflopro method can be used for flexible learning situations, away from the usual 15 classroom.

The Soflopro image can be electronically ported to another electronic destination for the purpose of designing a specific floral request, and could be saved for future reference.

For example, accepting a design to be made for a wedding situation, that has been designed by the user, but is to be made by another person at another destination.

The Soflopro can be used for keeping a corporate flower design the same in different destinations. The flower design would be electronically ported to all corporate areas.

The Soflopro can be used for personal portfolio designs. This would be a very valuable tool for professional florists.

The Soflopro can be used in a retail situation where a customer would like to design a specific floral design, and the retail outlet would practically make the design.

FLOWER FILE The Soflopro contains within a Flower File. This optional tool choice can be accessed by the user when the user would like to remember a specific date for sending an arrangement, or for accessing a customer's particular preference for specific flower or botanical types, designs, preferred price range and colour preference. This also contains a customers personal details, address and preferred method of payment. The user would be reminded seven days before an actual date was required for acknowledgement.

PERISHABLES STOCK SHEET The Soflopro contains within a stock sheet that can be accessed by the user for the purpose of recording any perishable stock. This would be cross referenced by the name of the specific bunch type, the amount of bunches, and the date. The user could access this stock sheet for large volume trading days, and use this sheet for monitoring any perishable stock loss.

K SELECT-A-STEM The Soflopro contains within a Select-a-stem. The Select-a-stem is able to effectively count your designs particular number of flowers, foliage and botanicals per type. This would sort out the individual types into individual numbers and then sort out the numbers into lots of bunches, being that generally ten stems equal one bunch of a particular flower type that is used.

For example, a usual bunch of flowers is based on ten stems, so if your design had thirty Ssix flowers of a particular type, the Select-a-stem, would estimate that you needed four bunches of that particular flower. Another example would be if your design had fifty seven stems of a particular flower type, the Select-a-stem would estimate that you required six bunches of that particular flower type. If you only used a minimum of five stems of a particular type of flower, or below this number, the Select-a-stem would Sdetermine that you required half a bunch of a particular flower type. For flowers that are sold commercially per bloom, or stem, these would be recorded appropriately.

The Select-a-stem would also be used to determine the amount of flowers, stems or botanicals that are required for a single, or multiple arrangements, and could be filed for future reference.

The Select-a-stem would be a valuable optional choice for the floral retail industry as it could be absolutely specific in determining the required amount of arranged stock that is needed for specialist trading days and large functions. The necessary arrangements that are usually required for a large trading day would be made using the Freestyle Design option. By using this option to design what is required for the trading period, the user is able to determine the fresh stock that is needed for specific arrangements, instead of trying to estimate the stock quantities manually. Fresh bunches would also be tracked on the Bunch file. This would be done by cross referencing fresh bunches that have been sold. I believe that the Select-a-stem would help florists to improve their overall expenditure figures for fresh perishable stock.

BUNCH FILE The Bunch File is an optional tool for the user to track specific bunches that have been used or sold. This file differs to the Select-a-stem, as this file only deals with bunch lots that haven't sold as a complete bunch. For example, a bunch that has been split and divided and used for different tasks, would not be included in this file as the bunch is not complete. Access to an electronic data base with date, bunch type, how many sold or used would be available for the user. The Bunch File can be added to the Fresh Stock File for complete fresh bunch stock inventory control. Extra bunches that are not mentioned in the flower index could be added to the Bunch File.

FRESH STOCK FILE The Soflopro contains within a Fresh Stock File. The Fresh Stock File is available as an optional tool once the Select-a-stem has been used and can also be used as an electronic data base for all fresh stock. Fresh potted plants can also be included into this category.

Plants would be listed under their specific name and number sold, and recorded accordingly and listed into the Fresh Stock File. The Fresh Stock File contains a listing of flowers by bunch lots, which are alphabetically and numerically sorted. The Fresh Stock Sheet can be used to plan for single and multiple designs in addition to major trading days. Costing assessments can be performed once the Select-a-stem option has the input from a Soflopro Freestyle Design option.

SET DESIGN The Soflopro contains within a Set Design. The Set Design can be chosen as an option when the user prefers to select a design from a selection of Set Design styles. The Set Design styles to choose from include, The A Line Style, The Horizontal Elongated Style, The Dome or Half Circular Style, The Hogarth Curve Style, The L Shape Style, The Crescent Style, The Modem Vertical Style, The Vegetative Freeform Style, The Vertical Freeform Style, The Posy Style, The Small Style, Flowers With a Gift Style, Cut Flower Sheaf Style, The Wreath Style.

A feature contained within the Set Design are drawings that support particular design styles of floral arrangements. These styles are suggested in this form to help assist the user in choosing which specific style of design is to be created. These design styles also have a written text which support the drawings. The user is able to navigate their way around the Design Studio, and navigate their way into the Set Design designated area.

The Set Design drawings are explained in this way. The body of the Set Design resembles a silhouette. The silhouette consists of many different pieces and shapes that are placed in a particular constructional design, and when viewed as a whole shape, resembles a finished floral arrangement. This particular silhouette has all of the flowers and foliage filled in, and the user would be able to tell quite clearly that this is a picture of a floral arrangement.

The second silhouette graphic to be viewed by the user is of the same style that the user has chosen previously, but the flowers and foliage are not included in the graphic. This is the silhouette that the user will work on to create the arrangement. Each different shape within the body of the silhouette has its own specific number for the purpose of cross referencing and matching this particular shape to another shape that is absolutely identical. This matching shape can be found within the Fresh Stock Area. The particular number on the shape also identifies the particular design step needed to place the shape into the designated placement area within the arrangement.

The Set Design styles flower content cannot go beyond the boundaries of the particular numbered shapes that are required to finish a Set Design, as the shapes within the body of the silhouette constitute the exact number of flower placement or steps needed to create the Set Design floral style. The user must complete all placements or steps needed to create the particular Set Design style. The user must complete all of the numbered shapes, being prompted by following the lowest number to the highest number in order, to bring the arrangement to a finished or completed state. In effect the user is deconstructing the selected silhouette Set Design shape piece by piece, by following the numerical prompts, then reconstructing the silhouette Set Design piece, gradually bringing the individual pieces back altogether to form one whole finished arrangement.

The user would choose a particular type of background setting or wallpaper, this would be the background of the Design Studio. The Design Studio has a designated work area where the user navigates to, to design the arrangements. These are the steps that are needed to create a Set Design.

1) A particular Soflopro Set Design style silhouette is chosen by the user. The user would view the completed arrangement graphic, then view the foundation silhouette graphic of the same design style.

2) Both of these graphics are then clicked and dragged from the Soflopro Set Design location within the Design Studio, to the Designated Work Area.

3) The completed arrangement graphic is situated nearby the foundation silhouette graphic for visual reference if needed, for flower placement clarity.

4) The foundation graphic is then clicked and dragged to a specific destination in the Designated Work Area, onto a work table.

The user would then decide which particular type of sundry container they required.

This can be chosen from the Sundry Area. This sundry container would then be clicked and dragged into the appropriate destination onto the work table.

6) A flower foam base would then be sized to fit the sundry container, this is a specific type of foam that is made for flowers, and floral art compositions. The flower foam stabilizes the flowers and foliage, and will hold them in place when inserted into the foam. This is achieved by piercing the flower foam with the end of the flower or stem, and pushing the stem into the flower foam, gently but with a firm even action.

7) The flower foam would be clicked and dragged and navigated to sit on top of the sundry container.

8) The foundation graphic is then clicked and dragged and navigated to sit on top of the sundry container.

9) So, by looking at the two graphics, the user would be able to visually determine that the foundation graphic needs to be filled with flowers or foliage images to complete the arrangement.

The user then looks for the lowest numbered small design piece, on the foundation silhouette graphic. This number is chosen for the purpose of designing the arrangement by a numerical indication system, to give the user an understanding of a guided flower placement within the design.

11) The particular numbered small design piece is first clicked and dragged to the Fresh Stock Area that is designated within the design studio.

12) This piece will only match a particular identical flower or foliage image that is chosen to match it from the Fresh Stock Area.

13) This piece is then matched to a particular flower or foliage or botanical image, by clicking the silhouette image onto the flower or foliage or botanical, in effect marrying the design piece and the image together, to become one new piece.

14) This piece has a new general appearance, instead of being a hollow image, it has the image of a flower, foliage or botanical.

This new piece is then navigated back to the framework of the foundation silhouette graphic image. This new piece is clicked and layered on top of the particular numbered piece that it was originally moved from.

16) The length of the stem may protrude from the flower foam base, if this is the case, the stem can be cut with the appropriate florist tools, as the finished position of the flower placement would not look good, if a stem was sticking out of the arrangement.

17) This new position would be the final position of the particular flower, foliage stem or botanical.

18) As the user would be able to establish at this point, the rest of the numbered empty images from the foundation silhouette graphic, would need to be matched with the appropriate flower, foliage or botanical from the Fresh Stock Area.

19) As these pieces are gradually matched, and transferred back to the design silhouette, the remaining pieces would be highlighted, so the user is aware of which pieces still need to be matched.

The user would then continue, being numerically prompted from the lower numbers, to the highest numbers, until all of the numbered silhouette pieces have been filled in with the particular matching foliage or flower or botanical from the Fresh Stock Area. Once all of the pieces have been cross referenced and placed into their final positions, this would deem the arrangement finished. A printed finished design can be referenced with numerical indications that would show flower placement for practical application.

FREESTYLE DESIGN Soflopro contains within a Freestyle Design option. The Freestyle Design option can be used to design an unstructured, freestyle, creative design. The Freestyle Design option is one of the key elements of the Soflopro where the user can explore and expand their own creative design abilities. The Freestyle Design option incorporates the genesis of the design, beginning with the selection of the appropriate sundries, (like flower foam, boxes etc), which are transferred to the designated work area for completion of the design by the user.

Just as in real life, when making a flower arrangement, the user must select the type and amount of flowers, stems and botanicals which are used for the particular design. The user would follow steps 5, 6 and 7 from the Set Design option to start the arrangement.

The user would then be able to navigate to the Fresh Stock Area to select an appropriate flower, foliage, or botanical. This particular piece would then be clicked and dragged back to the sundry container and clicked into a position that the user chooses, this would be the start of the flower placement for the design. Step 16 and 17 from the Set Design option would be completed next.

The user would then navigate to the Fresh Stock Area to select the next flower, stem or botanical that will be part of the arrangement, this piece will be chosen, then clicked and dragged back to the arrangement, and clicked into place. This could be angled or rotated to enhance the flower's position within the arrangement. The user would determine the number of flowers, botanicals or stems that are required for the arrangement, by repeating t' 11

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the last two design steps.

This element of the Soflopro is different to the Set Design option because the user decides on the numbers of flowers, botanicals that are required for a particular design. A printed finished design can be referenced with numerical indications that would show flower placements for practical application. So the first flower that is arranged within the design would be number one, and the next stem placements within the design would follow kI accordingly. If eighty five stems were used in a particular design, there would be eighty ON\ five numerals within the finished printed design.

FLOWER TRACKER Soflopro contains within a Flower Tracker. This Flower Tracker is used as an option to track a floral design. The date and time a design leaves a premises, and the arrival time at Sa destination point would be recorded for reference. Relay orders may be recorded if S 15 necessary, as well as the stores delivered arrangements.

SUPPORTED TEXT FOR SET DESIGN 1. THE 'A'LINE STYLE- The A line style of floral arrangement is a very popular choice of arrangement. This style is a great choice for birthdays, anniversaries, and holiday festive occasions. This style of arrangement is generally popular with most people, due to the classical triangular shape.

This is derived from the symmetrical triangle, and is a very good choice of design style for formal occasions. This style of design can be made for very large scale situations, such as large weddings, church functions, corporate functions. This style has a massed, full looking amount of flowers and foliage, and is made preferably to sit against a wall, or a background. The front face is generally the most viewed side. The user can customize the measurements of this style to suit specific requirements.

Main focal flowers can be evenly distributed throughout the arrangement, or a main focal line can be established in larger style of arrangements. This main line of design is used to create visual interest, whether the visual aspect be colour, texture of a particular type of flower or foliage, or a visual shape that is achieved by particular placement of the preferred flower or foliage. This focal point guides your eye from one point of the arrangement, following through to another point in the arrangement. Usually this point can be visually determined from the apex of the arrangement, by following a stepping down of the flowers, gradually from the smallest, tallest bud, finishing at the front middle part of the arrangement, to the most open blooms, which are positioned generally in the bottom third of the arrangement, these lower front middle flowers also should be quite open, with a purpose of drawing your eye to these particular blooms. Sometimes there can be a visual flare that is apparent to the viewer. This slightly rounded lower front design style depends on how the flowers and foliage are angled and positioned into their final placement, within the flower foam base.

To determine the middle vertical flower placement apex, generally a long flower or piece of foliage is used and then positioned at 0 degrees. This flower or foliage is then placed in a vertical upright position into the middle of the piece of flower foam base, positioned about three quarters of the way towards the back edge of your flower foam base, with a slight backwards incline of about 10 to 15 degrees.

The apex can also be measured by establishing the containers height and width. A starting height can be worked out by multiplying the height of your container by 1.2 to 2 times, or if your containers width is greater than the height, you would apply the same measurements to the width of your container. This measurement is then added to one times the width of your container, thus establishing an apex. This is the starting point for this arrangement.

The lower left and right side measurements are determined by measuring roughly half of the apex measurement. To determine the lower left hand point of your triangle shape, this 0 is achieved by positioning your flower or foliage at 90 degrees. For a real practical fresh arrangement, a slight allowance of about 10 degrees can be applied to this angle, (bringing the new position of the flower or foliage to 100 degrees), for artistic license, allowing for a more natural, rhythmic visual appeal to the design. By positioning the flower or foliage one third of the way back from the front left edge of the flower foam Sbase, this is the edge that is facing you. The placement of the flower or foliage should not 1 15 be positioned so far left that you will feel as if you are crumbling the flower foam, as this will ruin your flower placement, because you have created a hole and made an indentation in the flower foam. Once a hole or pressure spot has occurred, you must move the flower or foliage to another position, so the flower or foliage will remain stabilized and in place.

Place the flower or foliage into the flower foam base with enough reasonable pressure, so that you feel the flower or foliage will not fall out. This should stay in its position quite comfortably, in a real practical situation. By looking at your middle vertical flower or foliage, and then looking at your lower left hand flower placement, a the same time, this shape, by looking front on, with the front edge of the flower foam base facing you, these two flowers should visually resemble a reverse L shape, or resemble a reverse right angle, remembering that the middle point of where the reverse L will be slightly obscured by the flower foam base, even though your left hand placement is situated at more of a forward placement from your first vertical flower placement. To determine the lower right hand point of the triangle, the flower or foliage is positioned at 270 degrees. For a real practical fresh arrangement, a slight allowance of about 10 degrees can be applied to this angle, (bringing the new position of the flower or foliage to 260 degrees), for artistic license, allowing for a more natural, rhythmic visual appeal to the design.

The flower or foliage is positioned one third of the way back from the front right edge of the flower foam base, this is the edge that is facing you. The placement of the flower or foliage should not be so far right that you will feel as if you are crumbling the flower foam base, and thus ruining your flower placement. By looking at your middle vertical flower or foliage, and then looking at your lower right hand flower placement, at the same time, this shape, by looking front on, with the front edge of the flower foam base facing you, these two flowers should visually resemble an L shape, or resemble a right angle, remembering that the middle point of where the L forms, being where the vertical and horizontal line meets, the shape will be slightly obscured by the flower foam base, even though your right hand flower or foliage placement is situated at more of a forward angle from your first vertical flower placement.

These first three flower placements are the most crucial, as these placement positions make up the three points of the triangle shape. The remainder of the flowers and foliage are then placed and spaced accordingly, being positioned into the flower foam base, making sure that each flower and foliage has its own separate space and audience, in relation to the other flowers that are positioned and contained within the arrangement.

2. THE HORIZONTAL ELONGATED STYLE The line style of this arrangement is generally suited for buffet, large function work, special occasions, and parties where you feel that the situation requires more than one arrangement for a particular setting where the flowers are generally placed along the centre line of the table. These styles of table arrangements may also be placed quite close to one another, for a greater visual appeal.

The design style of this arrangement is like a smaller condensed version of the A line style, with the emphasis being on the elongated length of the arrangement, and the apex of this style is not very tall, so that when guests are seated at a table, they are able to see and talk to one another without the flowers being a hindrance.

The apex is determined by measuring the height and width of your container and adding these two measurements together, or you can just use your common sense and customize the measurements to suit the appropriate table length. The side measurements are usually calculated by multiplying the apex height by one and a half to two times for each side.

The apex point of this arrangement is achieved by positioning the flower or foliage at 0 degrees vertically into the middle area of the flower foam base, being that the flower foam can be positioned in a horizontal position. By positioning the flower foam base in this position, the user is more inclined to create a longer style of arrangement.

The left side angle is achieved by positioning your main flower or foliage at 90 degrees, in line with your vertical middle flower, but starting about half the way down from the left hand side edge of your flower foam base. The tip of your flower or foliage, being the bloom end, should naturally rest comfortably on the working surface that the arrangement is being made on, using this technique practically, this technique will help the user to develop a good proportionate sense of visual balance. The main focal line of this particular style usually runs along the horizontal middle line.

The right side angle is achieved by positioning your main flower or foliage at 270 degrees, in line with your vertical middle apex flower, but starting about half way down from the right side edge of your flower foam base. The tip of your flower or foliage, being the bloom end, should naturally rest comfortably on the working surface that the arrangement is being made on.

Therefore if you viewed your flower positions from above your arrangement, the flowers would look like they are all linked together forming a horizontal line, with the flower foam base slightly obscuring the visual line, being that the apex flower would be situated in the middle of this placement. The rest of the required flowers which are known as filler flowers, are then placed and spaced accordingly, being positioned and inserted into the flower foam base, making sure that each flower and foliage has its own separate space and audience, in relation to the other flowers that are positioned and contained within the arrangement.

3. THE DOME OR HALF CIRCULAR STYLE This style of arrangement is a basic dome style shape, or resembles a hemispherical type of shape. Usually this style is quite a small arrangement, but this can be customized to fit the required measurements. This style of arrangement can be given as a small gift, or taken to a hospital, or it is perfect for smaller spaces that do not require a large arrangement. This style is visually appealing when used in repetition for particular function or corporate designs.

The main flower or foliage is placed and positioned into the centre of the flower foam base, stem end first at a 0 degree vertical angle. The apex of this first inserted flower is to 20 centimeters. To achieve the round, dome style shape, position the foliage at even intervals, around the bottom circumference of the flower foam base. The foliage should be kept at the same length, to establish a neat, ordered pattern. By doing this first you are gradually completing a circlet of evenly spaced foliage, keeping the circular shape in mind.

Once the circumference is established, the user can then position and insert the remainder of the filler flowers and foliage into the flower foam base. The user places and positions and inserts the remainder of the foliage pieces to cover the dome shape, into the flower foam base, keeping an even coverage of foliage positioning. The flowers that are to be positioned into the remaining spaces that are left in the flower foam, would be positioned next. These flowers are kept at about the same length so as to keep the dome shape form when positioned and inserted into the flower foam base.

The flowers should be positioned and inserted into the flower foam base, around your first middle flower as your starting point, continuing in descending, concentric circles, until you reach the bottom circumference of foliage. Taking care not to damage any foliage that has been previously placed and inserted into the flower foam base, still leaving a small space between each flower for even presentation and positioning. This positioning and placement of flowers creates quite a tight, compact style of design.

Sometimes the user can incorporate herbal flowers and small scented flowers to maximize the impact of a smaller style of design.

4. THE HOGARTH STYLE The Hogarth curve derives its name from a famous English artist, William Hogarth (1697-1764).

Mr. Hogarth exclaimed this lazy s style, or curve, when observed in nature, as "a line of beauty".

An important design element to remember when positioning your flowers and foliage is to make sure that the right top point curves to the right, and the left bottom point of your design curves to the left. The user may keep in mind the appropriate flowers and foliage that are required to create the natural curve. Flowers and foliage with a natural inclination to curve, or possess a natural sweeping line, are a more suitable choice for this design style. This style demands your visual attention and can be used for art showings and arrangements that require a little more artistic license and expression, rather than using the basic geometric styles.

To determine the apex of the right curve, this height is achieved by multiplying the height of your container by 1.2 times, plus the width of your container. These two figures are then added together to determine the apex height. Although the final height of this arrangement can be customized. The arrangement is started at this point, the first flower is positioned into place, and positioned at a slight incline of 10 degrees towards the back for stability, and the flowers and foliage are positioned into the flower foam base following a structured, flowing, sweeping S shape. This design shape naturally gives a visual flowing feel to the arrangement.

As the user gradually works their way along the descending S shape, when the user determines that the middle point is reached. This is roughly about half way down, the user can then start positioning and inserting the flowers and foliage into the flower foam base, towards the right hand middle side of the S curve of the arrangement. It is at this design stage that the user will start to position and place the flowers and foliage that are required to fill in the middle section of this arrangement. The flowers in this middle section are positioned and inserted into the flower foam base in a particular design structure, so as not to interrupt or visually lose the initial shape of design.

The left hand bottom sweep of the arrangement is then carefully considered and the flowers and foliage required are positioned and inserted into the flower foam base. The sweeping shape is continued until the position of the last flower or foliage is considered.

The lineal curves of the top and bottom lines should be about the same length and dimension, making the curves of the S shape, visually equal, allowing a slight degree of movement for artistic license.

THE L SHAPE STYLE The L shape derives from a right angle. This is an arrangement that has quite a strong dynamic vertical line. Once the apex has been established for this style, by using a starting flower that is naturally quite long, which is called a backing flower. The rest of the flowers and foliage required are positioned and inserted into the flower foam base, in a gradual stepping down pattern. The user can then position and insert the flowers and foliage required to make your lower right angle corner. These flowers are positioned and inserted into the flower foam base accordingly so as they will not obscure the original shape intended. The rest of the flower placements are stepped along gradually to the right and positioned and inserted into the flower foam base, with some of the blooms facing slightly forward to the front face of the arrangement, and the rest of the filler flowers are pointing to the right hand side.

6. THE CRESCENT SHAPE STYLE The style of this arrangement is a slight variation of the L shaped arrangement, with a slight circular feel to it. Rather like a half moon shape. The crescent shapes can be inverted, a taller vertical or quite a wide crescent. These styles can be very dramatic, as visually the arrangements seem to have a sense of movement about them, because of the way your eye is drawn around the shape. The user can use flowers and foliage that have a sweeping flowing natural inclination, such as soft ferns.

To determine the height of the apex, you would multiply the height of the container 1.2 times, and add this measurement to the width of your container's measurement. The first flower or foliage is inserted and positioned into place into the flower foam base. The remainder of the filler flowers and foliage are positioned and inserted into the flower foam base. Carefully determining the shape as the flowers are continually placed into the flower foam base. The main focal point is usually about the middle of the crescent shape, giving the arrangement a sense of proportion and balance. Specific flowers may be reserved for this focal point. The remainder of the filler flowers and foliage are positioned and inserted into the flower foam base, keeping in mind the original shape and style.

7. THE MODERN VERTICAL STYLE This style has a great visual appeal. The flowers are designed in a vertical position, which are inserted into the flower foam base, very closely to each other. The flowers are 0 positioned and placed into the flower foam base at a 90 degree angle, or as close as possible as practical to that degree. The flower foam base in this arrangement has to have quite a large surface area, as the stems are inserted vertically, and usually the bloom size determines the width of the area required. Some flowers have a wider bloom, so the user would need less of larger blooming flowers. Some flowers that are still in bud that are to Sbe used, would require more as they are not fully opened yet.

Straight stemmed flowers and foliage are preferred for this style of arrangement, to keep a vertical approach to the whole arrangement. The user may want to use bright colours and keep each row a different flower from the previous line, but keeping the colour the same for the particular line. This creates lines of colour. Textural flowers and foliage will keep this arrangement unusual and very appealing.

To start the arrangement, the user may turn the flower foam base around until the longest side is fully visible to the user. This is the side that will be used for the arrangement, as this side has the largest surface area. A row of tall backing flowers are first positioned and inserted into the flower foam base, which is started at the left hand side and worked across the piece of flower foam base in a horizontal manner, until you reach the end of the right hand side of the flower foam base.

Allowing the flowers that are to be placed in the next line, to have an even space between the horizontal lines of blooms, will add a different dimension to the design. This is known as negative space, this space is adding a different design element to the arrangement. The design will depend on how many lines of colour the user wishes to use.

The user will continue with the line styles, carefully positioning and inserting the flowers and foliage required. The arrangement is gradually stepped down until the user reaches the last line to be created, which at this stage the stem of the flower is to be inserted into the flower foam base, this is very short as the purpose of positioning the last line is to make the flowers or foliage look as if they are sitting on the flower base. The user may wish to use some moss or leaves to hide the flower foam base at this stage. The arrangement typically has a front face, and the back of the arrangement is usually set against a backdrop or wall.

8. THE VEGETATIVE FREEFORM STYLE This style is quite distinct and gives the user a broad spectrum of material to choose from.

The arrangement is typically designed so that the positioning of the flowers and foliage are drawn from how the flowers and foliage would be found in their natural, growing state, resembling a natural style of composition. Small pebbles, moss, dried materials can be cleverly placed in these design styles. This style allows for artistic expression, as the rules of design are not so rigid. Groupings and clusters of specific chosen materials typically are found in this style. Visually, your eye may wander to different groups of flowers and foliage. Planted material, for example, heads of succulent plants, are also very acceptable as an added feature in this style of design.

The user may wish to create the arrangement in a ceramic container, or a glass dish, so that the arrangement may be viewed from all sides when placed in the centre of a table.

To start the arrangement, the user would mentally split the flower foam into divisions, and work out where the groupings of flowers and materials were to be placed and positioned. The various flowers and foliage are placed and inserted into the flower foam base. The other materials may then be added to the base of the arrangement, for example, pebbles, dried foliage, moss, segments of a growing plant. The arrangement can resemble the form of a mass planted composition, making sure that the user keeps the original design style in mind.

9. THE VERTICAL FREEFORM STYLE This style of design is a variation of the modern vertical style, but instead of placing the flowers and foliage in straight lines of colour, the interpretation can be a little more creative. The emphasis is still on a very strong, vertical line of design, but the required flower and foliage can be seen as being interwoven and sometimes seem to be touching the other flowers, although this does not interfere with the main design style. The flowers are positioned at different angles within the composition, and at different heights. This style can be very creative, and should still have a visual focal point. Moss and vines can be interwoven to bridge small separate vertical compositions together. Hanging smaller materials onto flowers and foliage can also suggest smaller complexities within a main composition.

THE POSY STYLE This style of posy is a small cluster or grouping of mixed flowers, usually the flowers are of small to medium sized heads. The arrangement is usually gathered in the hands and traditionally held in one hand, while the other hand places the required flower or foliage into required position. The main point is started by slowly adding the flowers, one by one, then the user can slowly turn and position the hand that is holding the flowers, with the other hand, the flowers are positioned and fashioned into a round, dome style.

The posy may have foliage evenly spaced throughout it, or the foliage may be evenly placed and positioned on the outer circumference of the arrangement. The middle flowers may become the focal point. The user may also group three of four different types of flowers or foliage together, thus creating a clustered, grouped posy. The user can add small textural foliage and small vegetables or seed pods as an accent and different kind of focal point as an added feature.

11. THE SMALL STYLE The style of arrangement is very suitable for retail purposes. This style also is very appropriate to use as a small gift. The arrangement usually consists of flowers and foliage within the range of fifteen to forty stems of flowers and foliage within the composition. The arrangement is usually made in the flower foam base and the designs can be small vertical designs, or the user can choose to design a smaller version of the A line design. The user can also make a small domed style design, being a round shape to view from all angles. The user can refer to the previous appropriate text regarding design styles and make the appropriate choice.

12. FLOWERS WITH A GIFT This style of arrangement has other items that have been positioned within the composition, depending on what occasion the flowers are required for. These extra items can include gifts such as fruit, nuts, savoury grocery items, wine, chocolates, balloons and toys. The gifts are fashioned in the style of a food or gift hamper, which can be presented in a basket or a tray type, or sundry container. The flowers may also require a soft cuddly toy, for the birth of a baby, or a birthday, or anniversary. The toy may be an extra add on item.

The arrangement may be in the style of a small, medium or larger size. Sometimes the hamper may be made independently to the flowers as a separate composition.

More often than not, the flowers usually are made to compliment the gift. Making the arrangement for the recipient usually requires a little background information regarding what the recipient's personal tastes are, in regard to food types, flavours and colours. The user can refer to the appropriate text on styles of designs, and make a smaller size design.

13. CUT FLOWER SHEAF STYLE The cut flower style is required when the user does not want to make an arrangement into a flower foam base. The user may want to make a design for a vase, or take cut flowers to a specific occasion, where a larger style of design may not be appropriate. The user may choose cut flowers just for a personal preference.

The sheaf is started by choosing an appropriate flower that is long enough for the overall length of the completed arrangement. The user will then choose flowers and foliage that are not full blown, and in bud. These flowers or foliage are placed in a slight fan shape, with the flowers being placed onto a flat working surface, so the user can safely arrange the flowers without any movement or disturbance. The next line or grouping of flowers will start with the flower heads being placed under the previous line's flower heads, with the stems laying on top of the previous flower's stems.

As the user gradually adds extra lines of flowers and foliage, the sheaf shape will begin to widen naturally, as the flowers are being stacked and placed on top of one another, creating a gradual wider, thicker fan style, some of the stems will naturally cross each other and you may find that the user has to tuck some of the untidy stems in behind the main stack of stems, to tidy the arrangement. This is very permissible. The user can gradually reduce this shape by tapering the next continuing layers of flowers and foliage.

This is achieved by deleting two or three flowers or foliage for each consecutive flower line that the user will create. This fan shape will naturally decline in size, when the user feels that the bunch has had enough flower content, the bunch can be tied around the smallest middle section of the stems, with an outer type of wrapping material, whether this be large leaves, paper or tied with a ribbon.

14. THE WREATH STYLE This style of wreath is made on a flower foam base. There are other bases which can be constructed by twisting and binding palm leaves together, if the user is a little creative.

Also wicker and different foliage can be bound and shaped to form a wreath. The wreath is a circular style of design. The wreath can be used for a funeral, to focus on a circle of life and death. The wreath can also be used for festive decorations and can be seen at different holiday times hanging from doors. These can be highly decorative or quite plain, with the foliage being the main focal point. The wreath can have an evenly mixed style of decoration, or feature a main focal point.

The style is created by covering all of the flower foam base with foliage. This can be slightly raised and positioned, as long as the foliage is evenly placed. Some construction methods are to pin the leaves onto the base, you can use a shorter style of dressmaking pins, as long as they do not protrude through the flower foam base. This will depend on how much handling the wreath will have to go through. Usually the pieces will be pinned to the flower foam base using small pieces of florist wire, that has been manually shaped into a U shape. This shape is used upside down and is pressed into the leaf or foliage and positioned into the flower foam base.

Depending on the design, the user may go beyond the boundaries of the flower foam base.

To make a focal point the user would position specific flowers and foliage into a small crescent shape. This shape may follow the wreath shape in design, but make a statement by itself, as the main focal point in this particular design. The flowers that are to be used for the focal point can be wired around the strongest part of the flower's short stem or the flower's calyx, which is situated just under the main flowering head or bud.

The wire can sometimes be pierced through the calyx to ensure the heads do not fall off the wreath when positioned onto the flower foam base. The flowers that are used for the focal point can be graduated in size from the smallest bud, following through to the largest bloom, positioning the largest blooms for the middle of the focal point. The wreath may require a finishing ribbon for decorative purposes.

To assist with understanding the invention, reference will now be made to the accompanying drawings, which shows ten examples of the Soflopro Set Design. These drawings are not to scale.

Figure 1 is a front elevation of a completed arrangement graphic of the L Shaped Style.

This graphic would be situated near the foundation silhouette graphic, Figure 2 for visual reference and clarity if needed, by the user.

Figure 2 is a front elevation of a foundation silhouette graphic of the L Shaped Style.

This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 3 is a front elevation of a completed arrangement graphic of The Hogarth Curve Style. This graphic would be situated near the foundation silhouette graphic, Figure 4 for visual reference and clarity if needed, buy the user.

Figure 4 is a front elevation of a foundation silhouette graphic of The Hogarth Curve Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 5 is a front elevation of a completed arrangement graphic of the Line Style.

This graphic would be situated near the foundation silhouette graphic, Figure 6 for visual reference and clarity if needed, by the user.

Figure 6 is a front elevation of a foundation silhouette graphic of The Line Style.

This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 7 is a top elevation of a completed arrangement graphic of The Horizontal Elongated Style. This graphic would be situated near the foundation silhouette graphic, Figure 8 for visual reference and clarity if needed, by the user.

Figure 8 is a top elevation of a foundation silhouette graphic of The Horizontal Elongated Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 9 is a top elevation of a completed arrangement graphic of The Dome or Half Circular Style.

This graphic would be situated near the foundation silhouette graphic, Figure 10 for visual reference and clarity if needed, by the user.

Figure 10 is a top elevation of a foundation silhouette graphic of The Dome or Half Circular Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 11 is a front elevation of a completed arrangement graphic of The Crescent Shape Style. This graphic would be situated near the foundation silhouette graphic, Figure 12 for visual reference and clarity if needed, by the user.

Figure 12 is a front elevation of a foundation silhouette graphic of The Crescent Shape Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 13 is a front elevation of a foundation graphic of The Modem Vertical Style. This graphic would be situated near the foundation silhouette graphic, Figure 14, for visual reference and clarity if needed, by the user.

Figure 14 is a front elevation of a foundation graphic of The Modem Vertical Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation silhouette graphic.

Figure 15 is a front elevation of a completed arrangement of The Posy Style. This graphic would be situated near the foundation silhouette graphic, Figure 16, for visual reference and clarity if needed, by the user.

Figure 16 is a front elevation of a foundation silhouette graphic of The Posy Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation graphic.

Figure 17 is a front elevation of a completed arrangement of The Small style. This graphic would be situated near the foundation silhouette graphic, figure 18, for visual reference and clarity if needed, by the user.

Figure 18 is a front elevation of a foundation silhouette graphic of The Small Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation graphic.

Figure 19 is a front elevation of a completed arrangement of The Cut Flower Sheaf Style.

This graphic would be situated near the foundation silhouette graphic, Figure 20, for visual reference and clarity if needed, by the user.

Figure 20 is a front elevation of a foundation silhouette graphic of The Cut Flower Sheaf Style. This graphic is the graphic that the user will work on to fill in the specific numerically referenced pieces. These numbered pieces would be individually clicked and dragged to the Fresh Stock Area, and once found and matched to a specific image in the Fresh Stock Area, this image would be clicked and dragged back to the original position within the foundation graphic.