UPF_19

Spider Plant G la s s hou s e


C O M M O N N A M E S : airplane plant, St. BernardÕs lily, SEE PAGE 167
spider ivy, ribbon plant, hen and chickens
L AT I N N A M E : Chlorophytum comosum

The spider plant is the ultimate houseplant: it’s easy reproduction unfold. The spider plant’s plantlets—or
to propagate and hard to kill, and it produces runners spiderettes—share the exact genetics of the mother
bearing miniature spider plants that cascade down from plant, making them clones. These baby plants quickly
the mother plant. develop adventitious roots, which will take hold if the
spiderette finds itself in contact with soil. They root
Spider plants were brought to Europe from Africa easily in water and will eventually produce their own
as specimens to study and collect, and they were grown offsets, which will have a genetic makeup identical to
in glasshouses and conservatories by wealthy collectors. their grandmother plant.
As glass became cheaper, houseplants became a more
accessible luxury. By the Victorian era, houseplants were
de rigueur for the respectable middle-class home, where
they were displayed in baskets, elaborate planters, and
glass Wardian cases, and atop pedestals and plant stands.
The spider plant was the perfect plant to grow in the
ornate hanging baskets so popular at the time.

After the Victorian houseplant vogue passed,
houseplants came to be seen as fussy, impractical, and
old-fashioned. It wasn’t until the 1950s that Scandina-
vian influence on midcentury design brought houseplants
back into favor. But this time, simple wooden planters
were favored over fancy urns. By the 1970s, houseplants
were everywhere, and potted spider plants were ideal
occupants for the macramé hangers of that era.

What’s uncommon about this ubiquitous plant is
the incredible opportunity it affords to watch asexual

53 PART I THE FLORA

G la s s hou s e
Long-Petaled
Bulbophyllum

L AT I N N A M E : Bulbophyllum longissimum SEE PAGE 170

Native to Thailand, Burma, Borneo, and Malaysia, in many plant species so it appears to be a petal, as in
long-petaled bulbophyllum is a member of the largest irises, fuchsias, and columbines.
genus of the Orchidaceae family. This highly diverse
genus contains more than two thousand species, This bulbophyllum is an epiphyte that grows
including such highlights as Bulbophyllum beccarii, an from the sides of trees so its unusual flowers hang
orchid that smells like dead elephants; Bulbophyllum downward. The flowers are dramatically displayed
medusa, whose big tuft of a flower evokes a Dr. Seuss in a structure called an umbel. The term, derived
character; and the phalaenopsis that can be found at from the Latin word for “parasol,” refers to a group
many grocery stores. of short, flower-bearing stalks that flare out from the
same point on a stem. The umbel of the long-petaled
The long-petaled bulbophyllum is an arresting bulbophyllum holds groups of five to ten flowers on a
plant that produces arching spikes bearing extremely plane with each other in a half circle. To some, the
long, tubular flowers arranged in half circles. The trail- bizarre, trailing flowers hanging together in rings
ing flowers narrow and become filiform—spindly and suggest ghostly chandeliers. But this otherworldly
threadlike—toward the bottom. The blooms, which are inflorescence is fleeting: the blooms last only a
cream-colored with fine pink or violet vertical stripes, can few days.
reach over 11 in (28 cm) long.

The flower gets its exaggerated length from a
pair of modified sepals. The sepal is part of the green
“cup” surrounding a flower. It usually helps protect the
flower bud and support the full bloom, but is modified

UNCOMMON PAPER FLOWERS 54





Cutting Garden



“Louise the C utting G arden
Unfortunate” Rose

C O M M O N N A M E S : ‘HumeÕs Blush Tea-Scented ChinaÕ SEE PAGE 175
L AT I N N A M E : Rosa x odorata
M E A N I N G : gentleness, sympathy

Cemeteries can be treasure troves for admirers of old At first, Louise was able to hold on to respectabil-
roses. Planted to adorn the graves of loved ones, hardy ity, supporting herself by sewing and cleaning houses.
antique roses often thrive and sprawl, sometimes living Over time, she began to wait tables in Under-the-Hill,
for hundreds of years. Some historic cemeteries in the the seedy part of town. Eventually, she had to find
United States feature roses brought over by European work at one of several Under-the-Hill brothels. She
immigrants or carried west across the continent by died penniless, and, in some accounts, out on the
pioneers. Cemeteries are a source of old roses unknown streets. A man (who was either a doctor, a preacher,
to modern horticulture and varieties thought to be or a plantation owner and former client, depending on
completely lost. Like ancestral headstones, old roses who tells the story) paid for Louise’s funeral, interment,
often come with tantalizing stories. and headstone.

One of these tales comes from a cemetery in Today, her white marble headstone stands in the
Natchez, Mississippi. As the story goes, the intrepid Natchez cemetery, with no dates and no surname.
Louise, a mail-order bride from New Orleans, arrived It says, simply, “Louise the Unfortunate.” At some
in Natchez on a steamboat to meet her fiancé and point, someone planted a rosebush near her grave with
start a new life. But for some reason the marriage pale pink flowers, speculated to be ‘Hume’s Blush.’
never occurred: in some accounts, she never found The rosebush hasn’t been given an official name, but
her fiancé; in others, he was already married. Though locals refer to it simply as “Louise the Unfortunate.”
Louise knew no one in Natchez, she stayed, either
because she couldn’t afford the passage back home
or because she was too embarrassed to return to New
Orleans still unmarried.

59 PART I THE FLORA

C utting G arden Allium

C O M M O N N A M E : ornamental onion SEE PAGE 178
L AT I N N A M E : Allium hollandicum
M E A N I N G : prosperity, humility, patience

This globe of delicate florets atop a thick, smooth stalk while repelling garden pests like deer, rabbits, squir-
is a glamorous cousin of the humble onion. The genus rels, and woodchucks with the same sulfur compounds
Allium includes onions, garlic, leeks, chives, and shal- found in onions and garlic.
lots. The word allium was used by the Romans to refer
to garlic and thought to derive from the Greek word Alliums bloom in late spring, during the lull
aleo, “to avoid,” presumably because of the strong odor. between the last of the tulips and the first of the roses.
They bloom for up to three weeks; then the florets fade
Allium varieties range from the dainty to the and drop from the umbel, leaving behind a starburst
truly impressive, with flower umbels that can reach of floret stalks radiating from the stem at the center.
10 in (25 cm) in diameter and stalks that grow to Unpicked, it becomes a garden ornament; picked and
4 ft (1.2 m) tall. Although the spherical allium in dried, it will last months or more. Alas, for such an
blues and purples is probably most familiar to flower elegant flower, it has surprisingly sloppy foliage—long
gardeners, allium varieties can also be white or yellow, pointed leaves droop and then collapse around the base
and their umbels can be cup shaped, semicircular, of the plant—so it’s best to plant it among low-growing
or pendulous. leafy neighbors that can help conceal the mess.

The ornamental alliums we know today didn’t
appear on the European gardening scene until the late
nineteenth century, when Russian naturalists collected
them in Central Asia and brought them to the Imperial
Botanical Garden in St. Petersburg. They soon appeared
at Kew Gardens in London, and before long, English
horticulturalists were developing spectacular hybrids.

Alliums are low maintenance, sometimes
described as a “plant it and forget it” bulb. They attract
pollinators like bees, butterflies, and hummingbirds,

UNCOMMON PAPER FLOWERS 60





Black Hollyhock C utting G arden

C O M M O N N A M E S : outhouse flower, alley orchid SEE PAGE 183
L AT I N N A M E : Alcea rosea
M E A N I N G : ambition, fruitfulness

Prolific and easy to care for, hollyhocks have been The hollyhock has also been used to treat child-
so common in home gardens in the last two or three hood boredom. Generations of children made little
centuries that they’ve picked up some unflattering hollyhock dolls using toothpicks and hollyhock flowers.
associations. The common name, “outhouse flower,” is A fully bloomed flower becomes the doll’s skirt; a bud,
the thanks this flower gets for a valuable service: before its torso. The pièce de résistance is her head, made
indoor plumbing, hollyhocks were often planted around from a hollyhock bud with its calyx torn off. When
outhouses because their tall stalks helped conceal the the assemblage is set on its side, the furled petals give
not especially appealing structures. Apparently, this use the doll an updo, the little spaces between the bud’s
was so common that anyone looking for the outhouse petals resemble eyes, and the spot where the flower has
could discreetly inquire as to the location of “the been cut away from the stem suggests a mouth. The
hollyhocks.” The slightly less pejorative nickname “alley admittedly somewhat creepy doll is held together with
orchid” refers to the hollyhock’s tendency to escape a a toothpick.
garden and naturalize nearby.
Hollyhock is the official flower for the thirteenth
The name “hollyhock” has somewhat uncertain wedding anniversary, but when picking the hocks for
origins. “Hock” comes from hokke, a variant of hocc, your spouse’s bouquet, it’s probably more romantic to
which is the Old English name for mallow, the holly- avoid the ones growing behind the old outhouse.
hock’s family. “Holly” likely means “holy”; one legend
has it that the flowers were brought to Europe during
the Crusades, so “holy” refers to the Holy Land.
Another theory is that “holy” refers to the flower’s
many medicinal applications: the plant has been used
in folk medicine to treat inflammation, respiratory and
digestive ailments, and skin rashes.

63 PART I THE FLORA

C utting G arden Itoh Peony

L AT I N N A M E : Paeonia SEE PAGE 186
M E A N I N G : shame, bashfulness

From Greek mythology to European folktales to The peony is the national flower of China and a
Chinese iconography and Japanese fairy tales, peony ubiquitous motif in Chinese art. Traditionally grown
lore presents an embarrassment of riches. The flower in the gardens of imperial palaces, “the king of flow-
takes its name from Paeon, a Greek god of medicine ers” represents opulence, wealth, beauty, nobility, and
and healing who treats both the god of war and the god honor. In Japan, the peony signifies courage, honor,
of the underworld in Homer’s Iliad. In the peony myth, and good fortune and has been given an only slightly
Paeon studies under Asclepius, a master of the medical less illustrious epithet, “the prime minister of flowers.”
arts, and Asclepius becomes jealous of his student’s But peonies in Japanese legend can have a darker side,
talents. To save Paeon from his teacher’s envious wrath, as in a particularly spine-tingling tale called “The Peony
Zeus turns the student into a peony flower. Lantern,” which features a beautiful woman, a lovelorn
suitor, and several midnight trysts with a skeleton.
Before breathtaking Chinese ornamental peonies
were introduced in the West, the flower was grown in The Itoh peony featured here differs substantially
Europe mostly for its healing properties. Peonies were from the balled-up pink and white peonies that many
believed to be an effective treatment for mental illness are familiar with; the Itoh’s petals are looser, and its
and epilepsy, and young children wore necklaces made watercolor hues more subtle and sophisticated. It’s
from peony roots to ease the pain of teething and named for its creator, Toichi Itoh, a twentieth-century
protect against convulsions. But, according to ancient Japanese botanist who was the first to successfully cross
superstitions, filling a peony prescription could be a an herbaceous peony and a tree peony.
dangerous task: the ancient Greek scholar Theophras-
tus reports the folk belief that those who pick peony
seedpods in view of a woodpecker may have their
eyes pecked out. Harvesting the root is supposedly no
safer, since the woodpecker can somehow also inflict
rectal injury.

UNCOMMON PAPER FLOWERS 64





Opium Poppy C utting G arden

C O M M O N N A M E S : breadseed poppy SEE PAGE 191
L AT I N N A M E : Papaver somniferum
M E A N I N G : endurance

The opium poppy has been used for its narcotic for doctors prescribing medication for pain relief. In the
properties since 4000 b.c.e. The Latin species name, nineteenth century, heroin was indicated for menstrual
somniferum, literally means “sleep-bringing,” an effect cramps, morning sickness, and “female hysteria.” Avail-
produced by alkaloids present in the flower’s sap. The able only to women who could afford ongoing medical
opium poppy’s powerful narcotic effect has always care, morphine, and later heroin, were associated with
been a double-edged sword: on one hand, the flower’s upper-middle-class women. Unlike the opium smokers
anesthetic properties have eased the pain of millions who patronized the seedy opium dens of London, San
of people over thousands of years, during most of Francisco, and New York, ladies who received mor-
which it was the only effective painkiller available. On phine injections from handsomely paid doctors were
the other hand, many of the pharmacological advances altogether more respectable.
that refined and concentrated the drug for medical use
also make it highly addictive.

When Friedrich Sertürner created the opium-
derived morphine at the beginning of the nineteenth
century, it was a wonder drug. Though practitioners
had long used opioid tinctures to heal, morphine was
far more powerful. Doctors began prescribing it for
almost any complaint and ailment. This practice was
made even more dangerous by the midcentury advent
of the hypodermic needle, since the drug could then
be injected directly into the veins of a patient.

In 1874, C. R. Alder Wright synthesized heroin;
it was then used to help alleviate morphine addiction,
and this “safer” alternative to morphine became a go-to

67 PART I THE FLORA

C utting G arden Red Hot Poker

L AT I N N A M E : Kniphofia SEE PAGE 194

This striking perennial produces dramatic spikes of paper. The process transferred very fine details like
bicolored flowers that reach from 2 to 6 ft (60 to fibers and veins to the paper, in many cases with more
180 cm) tall. As the florets age, they change from dark accuracy than botanical illustrators of the time could
red to orange to yellow. The florets at the bottom of achieve. Kniphof was very secretive about his own
the flower mature first, turning yellow and opening printing techniques, which remain mostly a mystery.
their petals. Over time, the yellow creeps up the hot
poker, an engaging phenomenon to observe in the
garden. The nectar-rich tubular florets are also
appreciated by bees, butterflies, and hummingbirds.

Native to South Africa, red hot poker plants
reached Europe in 1707, where they were grown in
heated conservatories. In 1848, they were planted along
the borders of Kew Gardens, and soon became popular
additions to Victorian and then Edwardian gardens.
Virginia Woolf and her husband grew red hot pokers
in their garden at Monk’s House, and she mentions the
plants several times in her novel To the Lighthouse.

Kniphofia is named for Johann Hieronymus
Kniphof, an eighteenth-century physician whose
magnum opus Botanica Pharmeceutica in originali was
the first large botanical work to incorporate “nature
printing.” This technique, originally developed in the
fifteenth century, involved covering plant specimens
with ink and pressing them between two pieces of

UNCOMMON PAPER FLOWERS 68





Witch Garden



Deadly Nightshade W itch G arden


C O M M O N N A M E S : devilÕs herb, death cherries, SEE PAGE 199
banewort, beautiful death
L AT I N N A M E : Atropa belladonna
M E A N I N G : silence

Deadly nightshade, as its name suggests, is one of the Belladonna has long been associated with witches
Eastern Hemisphere’s most toxic plants. It grows wild and is fabled to be a main ingredient in flying oint-
in much of the United States, and you’ll often see this ment, a salve that witches apply to their broomsticks
unassuming perennial with its small purple flowers and to give them the power of flight. One theory is that
shiny black berries growing alongside other weeds in this association is rooted in early experimentation with
untended areas. Belladonna—“beautiful lady” in Italian— hallucinatory recreational drugs. Ergot, belladonna,
refers to the plant’s cosmetic application: women used henbane, and mandrake were all known to cause hallu-
belladonna drops to dilate their pupils, an effect consid- cinations, and people may have found that the best way
ered to be alluring. Its Latin name, Atropa belladonna, to safely consume the hallucinatory compounds was to
comes from one of the three fates, or Moirai, in Greek absorb them via mucous membranes. Ointments were
mythology. While the fates Clotho and Lachesis spin made containing these substances and, the theory goes,
and measure a mortal’s thread of life, Atropos, whose applied to a broom handle. The figure of the witch
name means roughly “the inevitable,” cuts it. naked astride her broom might have been inspired by
the intrepid thrill seeker tripping out by means of the
Accordingly, the toxin that makes belladonna so most effective tools at hand.
deadly is called atropine. It poisons by disrupting the
parasympathetic nervous system; the body can’t regu-
late involuntary processes like sweating, breathing, and
heart rate, causing illness and even death. Belladonna
has been used to poison arrow tips and, legend has it, to
murder Roman emperors. The plant’s black berries are
especially dangerous for children, since they resemble
blueberries and taste sweet.

73 PART I THE FLORA

W itch G arden
Cobra Lily

C O M M O N N A M E : pitcher plant SEE PAGE 202
L AT I N N A M E : Sarracenia leucophylla

Often called pitcher plants in the nursery trade and dissolved and digested; eventually, its body will provide
cobra lilies by florists, Sarracenia leucophylla are the plant with essential nitrogen and phosphorus.
carnivorous plants that grow in sunny bogs, swamps,
and other wetlands. They have adapted to grow in Some species of cobra lily use insects as a com-
poor soil by producing pitfall traps that allow them to ponent of their digestive liquid. Trapped ants provide
collect nutrients from prey insects. not only a nutritious meal but also a dose of formic
acid, the chemical that makes ant bites so painful. The
Attracted by a frilled white or red pitcher lid formic acid helps lower the pH of the fluid, making it
masquerading as a flower, a fly alights on a pitcher’s lid. even more effective at breaking down prey. Other cobra
It soon finds that the pitcher has secreted nectar bribes lily species host tiny larvae in their acidic pools, which
around the edges of the lid, and that there is even more eat captured insects and then excrete nutrients the plant
nectar to be had on the lid’s underside. The fly follows can easily absorb.
this sweet trail until it finds itself gobbling nectar while
hanging upside down directly over the pitcher. One These fascinating carnivores are imperiled both by
false move, and it falls straight down into the trap. habitat loss and by horticulturalists selling the plants and
cut flowers. Before you buy either, it’s a good idea to
Once inside, the fly’s wings are soaked in digestive make sure they’ve been farmed rather than foraged.
fluid. Weakened and, like most winged insects, unable
to fly straight up, the captured fly tries again and again
to launch itself at an upward angle and instead repeat-
edly crashes against the walls of the pitcher. When it
tries to crawl up the sides of the tube, it encounters a
slippery coating. Beyond that are tiny hairs that grow
downward, creating a gauntlet the exhausted fly can’t
overcome. The insect falls into the pool of fluid to be

UNCOMMON PAPER FLOWERS 74





Amethyst Deceiver W itch G arden


C O M M O N N A M E S : red cabbage mushroom, SEE PAGE 114
common deceiver
L AT I N N A M E : Laccaria amethystina

Although its sinister-sounding name and unusual be careful, as it’s dangerously similar to other purple
purple color suggest that this plant might be found in a mushrooms that are toxic, like the lilac fibrecap. While
witch’s brew, the beautiful amethyst deceiver is actually rarely lethal, the lilac fibrecap contains enough of the
a pretty innocuous little toadstool. Like amethyst, the toxin muscarine to produce an extremely unpleasant
gemstone mineral they’re named for, these mushrooms bout of abdominal pain and nausea. As with all
come in a range of purples. As the mushrooms age mushrooms, amethyst deceivers should be verified by a
and become dry, their purple fades to a pale grayish mushroom expert before they’re consumed.
brown, making them harder to distinguish from
other brownish and purplish mushrooms—thus the If you do verify that you have a basket of amethyst
name “deceiver.” deceivers on your hands, you’re in for a visual as well
as a gustatory treat: the mushrooms keep their purple
The darkest thing that can be said about amethyst color when cooked, making for a lovely presentation.
deceivers is that they are little vampires. Growing among
the leaf detritus beneath a tree (often beech), a mush-
room detects a tree root. In response, the mushroom
produces tiny filaments called hyphae that grow
into the root, effectively turning the tree root into a
straw that allows the mushrooms to suck nutrients
from the tree. This behavior isn’t really as nefarious
as it sounds—this ectomycorrhizal relationship is also
beneficial for the tree: the deceiver helps the tree absorb
water and provides it with essential nutrients.

The amethyst deceiver is considered edible, but it
can bioaccumulate arsenic, soaking the pollutant from
the soil like a sponge. And mushroom hunters need to

77 PART I THE FLORA

W itch G arden
King Protea

C O M M O N N A M E S : giant protea, honeypot, SEE PAGE 207
king sugar bush
L AT I N : Protea cynaroides
M E A N I N G : diversity, courage, hope, change

In 1736, Carl Linnaeus, the father of botanical tax- protea can be susceptible to a deformity called witches’
onomy, named the protea after a sea god. In Greek broom, which changes the structure of the flower
mythology, Proteus, the son of Poseidon and the older head. Its buds are stimulated to divide and subdivide,
brother of Triton, was a shape-shifter and fortune-teller. resulting in a dense clump of plant matter. In a king
When mortals came to hear their fortunes, Proteus protea, a stem struck by witches’ broom is a grotesque
turned himself into a series of different animals in order clump of tiny protea flower heads squashed together
to evade their grasp. Only a person who could hold him and growing into and out of each other.
through all his changes of form could force him to reveal
the future.

Linnaeus gave the plant Proteus’s name because
of the highly varied forms it can take: there are proteas
that look like pincushions, paintbrushes, and artichokes.
Others have shapes so eccentric they’re difficult to
describe. King proteas also seem to shape-shift as they
bloom. The closed flower head almost resembles a
large, scaly dragon egg, but instead of containing a baby
dragon, the pink petal-like bracts open to reveal a fuzzy
white center made up of the plant’s true flowers. When
the flower head is fully open, the bracts form a crown
around the flowers, thus the name king protea.

Modern proteas are descendants of proteas that
existed during the Cretaceous Period. They’re drought
resistant, adapted to survive wildfires, and long-lived—
a protea plant can last a century. But even the toughest

UNCOMMON PAPER FLOWERS 78





Snake’s Head W itch G arden

Fritillary

C O M M O N N A M E S : leperÕs bells, leper lily, Lazarus SEE PAGE 210
bell, dead manÕs bells
L AT I N N A M E : Fritillaria meleagris
M E A N I N G : persecution

This plant’s Latin name, Fritillaria meleagris, refers to The flower was rumored to have acquired its
the resemblance between the checked pattern on the downward-facing habit at Calvary, where, the story
fritillaria’s petals and the feathers of a guinea hen; its goes, snake’s head fritillaries growing nearby witnessed
common names, however, hint at the darker associations the crucifixion and hung their heads in sadness. But
of a bloom that poet Vita Sackville-West once called the flower also has some positive associations; for some
“a sinister little flower, in the mournful colour of decay.” it symbolized the wonder of creation, since the evenly
checkered petals seemed to reveal the perfection of
The common name “leper’s bells” refers to the divine order, which sixteenth-century botanist and
medieval practice of lepers carrying bells and clappers. herbalist John Gerard described as “chequered most
Some historians believe that, to reduce contagion, people strangely: wherein . . . the Creator of all things, hath
with leprosy were required by law to carry these instru- kept a very wonderful order, surpassing (as in all other
ments to warn those without leprosy of their presence. things) the curiousest painting that Art can set down.”
Others argue that, since leprosy damages the vocal cords,
the bells and clappers made it possible for lepers to “call” It’s believed that Fritillaria meleagris was assigned
to passersby for alms. This association of the flower with the meaning “persecution” in the language of flowers to
leprosy is also reflected in the plant’s other common honor its discoverer, Noel Capron, one of many Protes-
name, “Lazarus bell”: in the New Testament, Lazarus, tant French Huguenots killed by Catholic mob violence
the unofficial patron saint of lepers, was a miserable beg- in the St. Bartholomew’s massacre of 1572. The
gar whose sores were licked by dogs and who, in death, nineteenth-century horticultural writer Henry Phillips,
found favor with God. Lepers were sometimes referred who assigned this meaning, recommended that the flower
to as lazars, casting them as virtuous sufferers worthy be planted in every garden as a reminder that “by perse-
of care. cuting others, we lessen our own portion of happiness.”

81 PART I THE FLORA

W itch G arden
Corpse Flower

C O M M O N N A M E S : titan arum SEE PAGE 215
L AT I N N A M E : Amorphophallus titanum

Native to Sumatra and Java, the full-grown corpse film the flowering and pollination of the corpse flower
flower has a 10 ft (3 m) center spadix surrounded by for the BBC, coined the name “titan arum.” He feared
a spathe that forms a pleated skirtlike structure. At that his audience might be scandalized by repeated use
the bottom of the spadix, deep inside the flower, are of the flower’s Latin name; his tamer alternative has
rings of small flowers. That makes the corpse flower an become one of the most common names for the plant.
inflorescence (an entire flowering structure) rather than
a single flower. Corpse flower bloomings attract thousands of
curious visitors to botanical gardens. For garden staff,
It takes eight to ten years for the “flower” to though, this is no time to sit back and admire. Pollen
bloom. When it does, the spathe opens up, revealing is collected, packed, and shipped to pollinate corpse
that it is dark red inside and textured to resemble meat. flowers in other botanical gardens. Although they
The plant’s namesake smell is released, an odor that are doing the work of flesh flies and carrion beetles,
chemical analysis has found to be a mélange of rotten these gardeners seem to have nothing but fondness for
fish, sweaty socks, mothballs, limburger cheese, excre- their enchantingly repulsive charges, even giving them
ment, and a sweet floral scent. As it blooms, the tip of names: Trudy lives in the Berkeley Botanical Garden,
the spadix warms to about 98°F (37°C), intensifying the Spike and Alice in the Chicago Botanic Garden, Rosie
odor and causing it to waft as the warm air rises. in the Tucson Botanical Garden, and Morticia in the
Franklin Park Zoo in Boston.
The flower’s stench draws pollinators, flesh flies,
and carrion beetles in search of a place to lay their
eggs. As an insect moves around the plant in search of
the source of the rotting meat smell, its legs become
covered in pollen; it’s then ready to pollinate the next
corpse flower it encounters.

Its Latin name means “giant misshapen penis.”
David Attenborough, whose team first captured on

UNCOMMON PAPER FLOWERS 82





PART II

Foundational Tools
and Techniques

M AT E R I A L S

SELECTING CREPE PAPER petals, with enough body to support blooms that
need more structure.
Crepe paper comes in three basic weights. Heavy
crepe, also called florist crepe, is made in Europe Fine crepe paper comes in three weights: 32 gram,
and China. European heavy crepe comes in 160 and 60 gram, and extra fine. The 32-gram crepe is similar
180 gram weights, which are so similar you might in weight to tissue paper. Its grain is very fine, though
not notice a difference. Heavy crepe imported from it does have some stretch. The 60 gram is similar
China is lower in quality and lacks European crepeÕs but has greater stretch and a slightly coarser grain.
crisp grain, but you can use it strategically to produce Somewhat confusingly, extra-fine crepe is the heavi-
softer petals with less stretching. Both European and est of the fine crepes and also the stretchiest. It has
Chinese heavy crepe have large crinkles that give the a slightly matte surface, so it isnÕt quite as lustrous as
paper a lot of stretch and body. Because the grain is the other fine crepes.
so pronounced, it must be stretched out most of the
way to achieve a smooth, realistic petal surface.

Doublette crepe is a medium-weight crepe with a
different color on each side. It doesnÕt have as much
stretch as heavy crepe, so it canÕt be shaped as dra-
matically, but its finer grain produces very realistic

UNCOMMON PAPER FLOWERS 86

THE BASICS

CUTTING PETALS and wide enough to contain the width. Also be sure
to align the fold with the dotted line on the template.
The grain of crepe paper runs in only one direction, To cut multiple petals at a time, you can accordion
up and down, parallel to the roll or fold. This means fold the crepeÑagain, just make sure that the folds
that it stretches only horizontally. Because most pet- line up with the dotted line.
als are shaped by stretching ruffles across the top,
or cups across the bottom, youÕll almost always cut For whole petal templates, simply place them on
petals with the grain running from the base to the tip top of one or more layers of crepe (making sure the
of the petal. IÕve included an arrow in the templates grain is running in the same direction as the arrow)
to show which way the grain runs, so when position- and cut around the template.
ing templates on crepe, make sure that the grain runs
parallel to the arrow.

IÕve drawn two kinds of petal templates. The half-
petal templates that include one straight side with
a dotted line are meant to be cut on a fold, so the
half petal opens out into a full petal when the crepe
is unfolded. Make sure that the folded crepe is long
enough to contain the whole height of the template

87 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

FORMING PETALS

SHAPING PETALS

CUPPING PETALS CURLING PETALS

Hold the petal with two hands, positioning your To curl a petal, grip it between your thumb and a scis-
thumbs on top of it, meeting in the center of the area sor blade, and scrape out to the edge of the petal. As
you want to cup. Keep the pads of your thumbs flat, with cupping, itÕs better to do several gentle scrapes,
and pinch the petal between your thumbs on the front rather than one very hard scrape that may damage
and fingers on the back. Stretch the paper between the paper. For a more gentle curl, use a dowel; for a
your thumbs, moving outward horizontally but also very small, tight curl, try a skewer.
forward with your thumbs and backward with your fin-
gers. Stretch the area specified in the project instruc-
tions, making sure not to stretch the outside edge.
Otherwise, youÕll end up with a larger, flat petal.

Practice with some test petals. Try to actually tear
the petal to get a sense of what level of force is too
much. ItÕs better to stretch the same area gently a
few times than with one strong motion, which can
leave dents in the petals.

Once the petal is cupped, run it between your thumb
and forefinger to smooth out any bumpy areas.

UNCOMMON PAPER FLOWERS 88

STRETCHING PETALS STRETCHING CREPE PAPER
AROUND A SHAPE
To stretch (or ruffle) petals, just stretch the crepe
across the top edge of the petal. Generally, I find that You can stretch crepe paper around ball and egg
it looks more realistic to stretch just the very upper shapes, creating a smooth surface. Use the measure-
edge, rather than starting farther down on the petal. ments in the project instructions to cut the strip of
Different weights of crepe will create different levels crepe that will cover the cotton or foam ball form.
of ruffle depending on grain. As youÕre familiarizing Place the cotton or foam ball in the middle of the strip,
yourself with crepe paper, experiment with ruffling both vertically and horizontally. Bring both sides of the
petals in multiple weights. strip to meet at the opposite side of the ball, and pull
the crepe paper snugly around the ball. Reopen the
strip and remove the ball. YouÕll see the ballÕs imprint
in the section of crepe that was wrapped around it.
Dot the concave side of the stretched crepe with glue
and then put the ball back in place. Press the upper
and lower edge of the strip down onto the ball. Snip
the crepe so that youÕre left with a narrow overlap, dot
glue on the seam, and press it to one side.

89 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

FORMING PETALS CONT. ATTACHING PETALS

CRINKLING COMMON PETAL CONFIGURATIONS

Lay the crepe in front of you on a smooth surface, so To attach a petal, dot the base of the petal with glue
that the grain runs horizontally. Place your fingertips up to the glue lineÑa line IÕve included across the bot-
about 1 in/2.5 cm from the edge of the paper closest tom end of many of the templates to show how high
to you. Place your thumbs on the edge of the paper up to apply the glue. Dot sparingly but thoroughly;
closest to you, and your fingers about 1 in/2.5 cm for- aim for more coverage with less glue. Apply the petal
ward from your thumbs. Use your thumbs to inch the to the stem where indicated in the instructions. For
paper toward your fingers, dragging the paper along light- and medium-weight crepes, press the petal for
the smooth surface. This will create little pleats. When a second or two. For heavy crepe, press for three to
your thumbs and fingers touch, leave your thumbs five seconds.
in place, and lift your fingertips and set them down
about 1 in/2.5 cm forward. Repeat until youÕve gath-
ered the whole piece into pleats.

UNCOMMON PAPER FLOWERS 90

ONE ROW OF FOUR PETALS SIX PETALS IN TWO ROWS
OF THREE PETALS
To add one row of four petals, place the first two pet-
als opposite each other. Place the second two petals Attach three petals evenly around the center. In the
in the spaces on either side of the first two petals. spaces between these petals, attach the remaining
three petals.
ONE ROW OF FIVE PETALS
FLOWERS WITH MULTIPLE ROWS
Place the first two petals next to each other on one
side of the flower. Place a third flower directly oppo- Distribute the petals evenly around the center. Indi-
site the ÒVÓ where the first two petals meet each vidual project instructions indicate how much to
other. Place the remaining two petals in the spaces overlap the petals. As you add more rows, youÕll
on either side of the third petal. add the first petal of a new row next to the last petal
in the previous row, so you end up with a continuous
spiral. Make sure to glue the petals close to the base
of the previous rowÕs petals, just slightly below, so
you don't end up drifting down the stem.

91 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

FLOWER ANATOMY

MAKING CONFETTI-STYLE STAMENS STEM WRAPPING

Follow the project instructions to cut a fringe rect- Wrapping a wire flower stem with crepe paper helps
angle and a confetti rectangle. Fold the fringe hide the bottoms of petals and creates a smooth,
rectangle lengthwise along the line shown on the realistic-looking stem. I prefer to use 18-gauge
fringe rectangle template. Cut a fringe across the cloth-covered stem wire for most flowers because
rectangle. Finer is better, but donÕt stress about it. the weight is flexible enough to pose easily, but not
When the whole rectangle is fringed, check the tem- too floppy to hold its shape, and the paper adheres
plate to see if there is a diagonal line across the bot- really well to the cloth cover, rather than sliding
tom half of the template. If so, cut along this line. around on a bare wire. Stem wire comes in a standard
18 in/46 cm length. Unless noted, the projects in
Fringe the confetti rectangle in the same way you this book use standard-length wire. When you
fringed the first rectangle. Then turn it 90 degrees. use wire snips to trim stem wire, consider wearing
Hold the rectangle over a plate and cross-cut, creating eye protection.
confetti. Squirt glue onto a plate. Dip the stamens in
the glue and then in the pile of confetti. Allow to dry. I use crepe paper rather than floral tape for most
stem constructions because I find it easier to work
You can apply the confetti to the fringes before or with, and I like to be able to create stems in just about
after you attach the fringes to the stem. Each project any color, rather than being limited to floral tape col-
will recommend which technique to use. ors. You can use any weight of crepe paper for this,

UNCOMMON PAPER FLOWERS 92

but my favorite is Lia GriffithÕs extra-fine crepe (made snip off any excess stem strip. If the strip tears as
in Germany by Werola). ItÕs both very light and very youÕre wrapping, just begin again with a new strip
stretchy, and it doesnÕt tear as easily as some other ¼ in/6 mm above the place on the stem where the
lightweight crepes. first strip tore.

Cut the stem-wrapping strips across the grain of When you reach the bottom of the stem, cut away
the crepe paper. They should be ¼ in/6 mm wide and the excess strip and make sure the part of the strip that
between 6 and 10 in/15 and 25 cm long. (Very long covers the end of the wire is glued securely in place.
strips can be hard to wrangle.) I call these stem strips. For thicker stems, repeat this process with additional
If youÕre wrapping the base of a flower, begin by dot- strips until youÕve reached your desired thickness.
ting glue on the first 2 in/5 cm of a stem strip. Attach
the strip beginning at the back of the flower. Wrap For very thick stems, use polyvinyl tubing slipped
twice around the base of the petals, stretching the over the stem wire, cut approximately 1½ in/4 cm
strip slightly to press them against the stem. Then, shorter than the wire. Wrap the tubing just as you
holding the strip at a 45-degree angle to the stem would stem wire. If the tubing wonÕt stay straight,
wire, spiral down the stem, gently stretching the strip insert additional stem wire into the tube. To secure
to create a smooth surface. Once youÕve used up the the tubing in place over the stem, bend the wires
section of the strip that was dotted with glue, dot the at the bottom back 180 degrees so they fold back
unwrapped stem with glue. Continue to wrap down against the bottom of the tubing.
the stem until you reach the bottom of the wire, and

93 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

FLOWER ANATOMY CONT.

MITERED LEAF a chevron where they meet down the middle. This
mitered packet is right-side up when the grain runs
We can use the grain of the crepe to create a upward from the middle.
realistic-looking leaf by cutting and gluing it so the
grain of each side meets the centerline of the leaf to Close the ÒbookÓ again and place the half-leaf tem-
create a ÒV.Ó First, cut a rectangle using the dimen- plate so the straight edge aligns with the crease. (Make
sions provided in the project instructions. Cut the sure that the template and the packet are both right-
rectangle from the bottom right-hand corner up to side up.) Cut around the template to create the leaf.
the upper left-hand corner. This will produce two tri-
angles. Flip one of the triangles vertically, and place Open the leaf and press it flat. Wrap the leaf stem,
them on the table side by side, with the diagonal cuts following the project instructions. To determine how
parallel to each other. Dot a ¼-in-/6-mm-wide strip much of the stem to dot with glue, place the stem
along the diagonal edge of the left triangle with glue. between the side of the leaf and the folded-over seam
so itÕs three-quarters of the way up the leaf. Dot this
Imagine that the two triangles on your work sur- length of the stem with glue and glue it behind the
face form an open book. Close the ÒbookÓ by placing seam, orienting the glued side so the stem adheres
the left triangle on top of the right, with all the edges to the seam rather than the back of the leaf. Dot a
lined up. Press along the diagonal to set the glue and tiny amount of glue on the bottom edge of the leaf in
allow it to dry. Once itÕs dry, open up the book, press- the center and press it against the wrapped stem to
ing one of the triangles completely flat over the seam anchor it.
to create a crease. Make sure the two triangles create

UNCOMMON PAPER FLOWERS 94

E M B O SS I N G C A R D S T O C K

EMBOSSING TOOLS EMBOSSED PATTERNS

I use embossing tools and a ⅛ in/3 mm craft foam If applicable, use the pattern on the template as a
sheet to create curled edges and ribbed patterns on general guideline for applying the embossing (thereÕs
cardstock. Follow the project instructions and, if pro- no need to transfer the pattern exactly). For heavier
vided, the embossing pattern on the template. Place lines on the pattern, use a ¼ in/6 mm embossing tool;
the cardstock on the foam sheet and use the emboss- for lighter lines, use a ⅟₁₆ in/2 mm or similarly fine tool.
ing tool to draw a line on the cardstock, pressing the
paper into the foam. Experiment by embossing with
different levels of force to find the embossing depth
you like best.

95 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

E M B O SS I N G C A R D S T O C K C O N T . ADDING COLOR

EMBOSSED EDGES & POINTS ACRYLIC WASH

To create three-dimensional leaves, place the leaf To achieve the powdery surface of some succulents
face down and use the ¼ in/6 mm embossing tool and cacti, I use a wisteria light purple acrylic craft
to trace just inside the outer edges of the leaf. Once paint. IÕve also experimented with pale pinks, blues,
the whole leaf is embossed, use your fingers to bend and yellows to good effect, but the wisteria purple is
back the cardstock. Aim for a smoothly bent edge. my go-to for this application. Dilute the paint in water
using the ratio specified in the project instructions.
To add a point to a leaf with embossed edges, make Use a foam paintbrush to swipe paint from one end
sure youÕve embossed all the way up to the point on of the paper to the other. If the paper has a grain,
either side. Pinch the tip, applying pressure evenly on paint with the grain. Try to keep the coat fairly even
either side of the point. and not too streaky.

For a more pronounced powdery look, add a sec-
ond coat. (The second coat also helps conceal any
streaks, so if you have an uneven first coat, opt for a
second coat.)

UNCOMMON PAPER FLOWERS 96

OVER-DYE BLENDING

I use alcohol inks for customizing the color of my Alcohol ink markers are ideal for creating color gra-
crepe paper. These inks arenÕt absorbed by the paper dation because theyÕre so easy to blend without
the way water is absorbed, so using them doesnÕt dis- wetting the crepe and ruining its texture (as water-
tort the grain. You can first dye paper to cut petals based inks can do). Hard lines can be softened using
from, or cut the petals first and dye them afterward. a clear blending marker (Copic Colorless Blender is
You can also dip dye parts of the petal. one of my most frequently used tools), but I espe-
cially love creating a streaky, two-toned effect using
You donÕt need to soak petals in the dye, and they two colors. First, I draw streaks in a darker shade
donÕt take very long to dry. Once theyÕre completely radiating out from the middle of the petal base; then,
dry, they wonÕt bleed onto other surfaces. To create using a lighter shade, I color the entire petal. If any of
pastel colors, dilute the ink in 99-percent isopropyl the streaks are still too stark, I use the lighter shade
alcohol. Make sure you have appropriate ventilation, to smooth them into the overall petal color for a more
and be forewarned that the ink will stain anything it natural effect. The greater the difference between the
comes into contact with, including fingers, so I rec- first and second markers, the more pronounced the
ommend wearing gloves. streaks will appear.

97 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES

ADDING COLOR CONT.

SPECKLING COLORING EDGES

Before adding any speckles, test the pen on a scrap of To add a very fine stroke of color to the petal or leaf
the paper stock youÕll be speckling. If the ink feath- edges, gently scrape the tip of a marker or felt-tip
ers very muchÑspreading up and down the crepe pen along the edge of the petal, rather than trying to
away from the dotsÑtry a different pen or marker. draw a line across the front of the petal at the tip. The
longer you hold the marker to the paper, the more ink
Plant and flower speckles are usually a combina- will wick into it and the wider the line will be.
tion of smaller and larger dots, which are usually
denser in one central area and become more sparse
farther away. I find it easiest to evenly apply them by
dotting the area I want to speckle with small dots and
then enlarging some of those dots as a second step.
You can enlarge dots by holding the pen to the paper
longer or by drawing them as a larger circle on top of
a small dot.

DonÕt worry about making things too even or
avoiding any feathering. Some irregularities will
improve the speckles, making them look more natural.

UNCOMMON PAPER FLOWERS 98

PASTEL SPRAY COLOR

I use PanPastel, a powdery pastel that goes on like I use Design Master Colortool and Tint IT spray paints.
eye shadow. ItÕs completely dry, so it doesnÕt wet These are lightweight sprays that florists use to spray
the crepe, and because you can brush it on lightly, it color on plants. You can also experiment with other
doesnÕt warp delicate paper or settle unevenly. types of spray paint.

For allover color, I apply the PanPastel with a To create ombre effects, hold the can between
wedge-shaped latex cosmetic sponge, simply swip- 12 and 18 in/30.5 and 46 cm from the paper and
ing it across the petals. My favorite application for spray stripes across it, making sure the stripes are far
this technique is creating rich, velvety-looking petals. enough apart to fit the template. You can place the
For example, a deep red or magenta over black crepe template higher or lower on the stripe, depending on
creates a gorgeous deep oxblood. the concentration of color youÕre looking for. You
can also layer the spray paint, spraying a stripe under-
I use a soft brush (a cheap blusher brush is per- neath the first, overlapping by about 30 percent.
fect) to apply PanPastel in areas where the pastel
might lodge in folds if swiped across using a sponge. ItÕs best to use spray paints outside (with a mask),
For example, the anthurium spadix is wrapped in flo- because it smells like bug spray. Let the paper dry
ral tape. If I were to try to brush across its surface, completely and, if possible, give it a day to air out-
the pastel would concentrate in the edges of the flo- side. The odor will diminish significantly after twelve
ral tape. But if I use a soft brush to dab the pastel up hours and fade completely within a week or two.
and down the surface, I get a nice even tone.

99 PART II FOUNDATIONAL TOOLS
AND TECHNIQUES