Kirjahaku

A celebration of season, Flower Philosophy presents a selection of beautiful arrangements designed to free readers from the pressures of perfection and instead encourage creative freedom, intuition and original results. Flowers are not perfect, and flower arranging shouldn’t be either. Anna Potter, author of best-selling Flower Fix, teaches us how to listen and learn from nature to create something truly original with 25 combinations of stems and foliage. Free yourself from a prescriptive, one- size-fits-all approach and let each unique bloom inspire you with this refreshingly honest and liberating florist’s guide. Featuring: A NEW PERSPECTIVE: Start with nature and let this inform your arranging A WEALTH OF PRACTICAL ADVICE: All the basic, essential information on flora, seasons, colour and arranging BUDGET-CONSCIOUS CHOICES: From small humble buds to large luxe flowers eg weed arrangements. Plus foliage, fruit, vegetables, sea shells and anything grown out of the ground. 25 FLEXIBLE FLOWER PROJECTS: Step-by-step, with options/prompts to encourage autonomy, originality, creativity PERSONAL TOUCHES: Author’s stories, poems, thoughts, experiences and musings FLORAL THERAPY: Tips to improve wellbeing with nature; tap into its mindful benefits throughout the arranging process A FLOWER THESAURUS: An unorthodox flower index of favourite and too-often-forgotten flowers, ideas for pairings, benefits to the senses and mood, meanings etc. Arranged by season, Anna Potter guides you through the process of creating your own wreathes, bouquets and installations, all using flowers that can be bought, found and foraged from your neighbourhood. Accompanied by stunning photography from India Hobson, this book provides the basic foundations to pick, choose and assemble with unlimited possibilities.

"We’ve long admired Anna’s way with flowers (especially when she reminds us that even a staircase can be the perfect place to install something floral and dramatic) and we’re all just so happy to see her incredible style turned into something we can bring home." - Design*SpongeThe Flower Fix presents wild inspiration and modern arrangements by Swallows and Damsons florist Anna Potter, with beautiful photography by India Hobson. Blousy blooms, speckled branches, rich foliage and delicate petals; nature has the power to inspire and energise, calm and soothe, focus and still. Anna has harnessed this magic with 26 tailor-made combinations of flowers to bring a floral boost to your home, no matter what your mood. With easy-to-find seasonal blooms, found items such as twigs and dried fruit, and any assortment of containers, discover how simple it is to bring a little bit of nature’s mystery into the everyday. Spanning all seasons and including both larger installations and smaller, simpler projects, there is something for anyone looking to play, experiment and create atmosphere with flowers. Get your daily flower fix with these and more inspiring arrangements:Inspire Playfulness is a spring arrangement to bring joy, featuring lilac, roses, ranunculus, poppy, narcissi and forget-me-nots.Flowers for Gratitude is a mix of summer’s bounty to inspire thankfulness, including garden rose, daucus, echinacea and chocolate sunflower.Find Beauty in the Everyday is a colourful arrangement to bring a fresh perspective, featuring autumn foliage, hydrangea, dahlia, crab apple and rosehip.The Shape of Self-Expression is a circular wreath design to express individuality, with holly, lamb’s ear, yellow holly berries, twigs and dried seedheads, and ivy berries.Each project lists the equipment, flowers and foliage needed to start the project along with step-by-step instructions. You’ll also find a guide to basic flower arranging; notes on colour palettes and how to use colour; and a flower glossary listing the colour, seasonal availability and vase life of each flower. Be led by the flowers, foliage, stems, follow their shapes and form, feel their weight and heft to create versions of these gorgeous arrangements that are uniquely your own.

Since the late 1970s, Australia has nurtured a creative and resilient children’s television production sector with a global reputation for excellence. Providing a systematic analysis of the creative, economic, regulatory and technological factors that shape the production of contemporary Australian children’s television for digital regimes, Creativity, Culture and Commerce charts the complex new settlements in children’s television that developed from 2001 to 2014 and describes the challenges inherent in producing culturally specific screen content for global markets. It also calls for new public debate around the provision of high-quality screen content for children, arguing that the creation of public value must sit at the centre of these discussions.

This book provides a detailed account of the creative, economic and regulatory processes underlying the production of children’s television in a multi-platform era. Its collection of integrated case studies includes extended interviews with leading producers whose programs are watched by children all over the world. These reveal the impact of digitization on the funding, distribution and consumption of children’s television, and the ways that producers have adapted their creative practice accordingly. In its comprehensive analysis of the production culture of children’s television, this book provides a valuable lens through which to view broader transformations in media industries in the on-demand age. This original and engaging book explores the creative processes underlying the production of children’s television, with close attention to underlying economic and policy dynamics. It does so through a combination of detailed case studies and interviews with leading producers from across three English-language markets. In its examination of the impact of new streaming services like Netflix and Amazon Prime on the funding, production and distribution of children’s screen content, the book will reveal how producers successfully created content for these increasingly influential new services. It offers important insights into the production of children’s screen content in Australia, New Zealand and the United Kingdom, and builds on previous research in the field. The addition of analysis, which provides the context of historical, regulatory and economic factors that shape production in all three countries, is important for situating the personal testimonies and providing some critical distance. The variety of productions chosen for analysis, including drama, factual productions and animation, represents the very different pressures on different genres. Previous studies have looked at children’s content as one genre, whereas this new study reveals children’s content to be as diverse in range as adult content. The case studies show the pressures and opportunities emerging from different national and international context and offers its own unique take on matters such as diversity, gender representation and indeed the ethics of representing children from a producers’ perspective. As a contribution to industry studies, this volume represents a valuable addition to the literature and will no doubt be referenced by future studies. The quantity and quality of original interview material goes far beyond interviews in the trade press. Combined with the rich detail of production case studies, the articulate interviews and Potter’s highly engaging mode of writing, this book is an invaluable additional to research in the area. This book will provide a crucial analysis of success stories in the children’s screen production industries at a time of flux and adaptation as television’s distribution revolution takes place. The book will be indispensable for scholars of children’s television and of UK, New Zealand and Australian media policy. It will also engage a wider audience interested in television production, production studies and digital distribution – including those teaching at undergraduate and postgraduate levels. It will be a valuable library resource for courses that include screen media industries and television production culture as part of their content. It will be of interest to scholars beyond children’s television because of its analysis of success stories in screen production at a time of change and uncertainty. It will also be of relevance to the international screen production sector and industry bodies, including screen organizations such as Screen Australia, and the UK’s Children’s Media Foundation, for its analysis of success stories in the screen production industries. Also, of interest to the many groups with vested interests around children and children’s media – including regulatory bodies like Ofcom in the UK, the Australian Communications and Media Authority in Australia and other key institutions, including legacy broadcasters such as the BBC, ABC and ITV.