Simplicity is the essence of design. This is an objective that I have always tried to achieve in all of my previous residential, commercial, institutional and recreational projects. How a designer creatively combines plant material and other design components into a simple, unified scheme is always an exciting challenge.

In the landscape palette, the designer is dealing with living plants that are subject to a myriad of weather conditions, different soil types, insect and disease problems, and a host of other environmental and physical circumstances. The landscape artist must deal with plants that celebrate the seasons with the unfurling of leaves in spring, the aroma and visual delight of ephemeral flowers, and the bareness of branches in winter. Change in the landscape is never constant as the seasons come and go. How the designer successfully combines plants and other material components in the Landscape Planting Plan involves paying careful attention to detail, a thorough knowledge of practical horticulture, and a good understanding of the basic principles and elements of design. The designer faces the challenge of creating a plan that is pleasing to the senses and that visually, functionally and aesthetically improves the appearance of the landscape at an affordable cost.

On the other hand, linear lines such as those found in a straight hedge or the edges of paving materials suggest quick, direct movement. Angled lines can create opportunities for creating the "bones or the framework of the landscape". Lines that interconnect at right angles create an opportunity for reflection, stopping or sitting.

Through skillful use of lines in the landscape, the designer is able to direct the attention of the viewer to a focal point.

Secondary features of landscape interest can also be created. In this case, while this components are beneficial in contributing to the unity of the site and tying the total composition of the site together, they have considerably less overall impact than the focal point.

Other plants that are spreading in their habit of growth are said to have a horizontal or spreading form. A shrub example of this form is Taxus x media "Hillii"-Hill’s Yew- and a tree example is Quercus palustris- Pin Oak. The Hill’s Yew could be effectively used as a hedge to provide special definition between two properties. When horizontal forms are placed together as is the case in the hedge, the individual vertical forms take on a horizontal profile.

Weeping, drooping of pendulous forms can also be used to create softer lines or as interesting accents in the garden. Fagus sylvatica "Purple Fountain" – Purple fountain Beech- is an excellent example of this form.

There are also rounded or globular forms that are useful in creating large masses. The majority of shrubs fall into this category.

When using ornamental grasses for example, a gradation of textures from fine to medium to coarse could be as follows:

1. Festuca glauca "Elijah Blue"- Blue Festuca Grass

2. Deschampsia caespitosa- Tufted Hair Grass

3. Calamagrostis x acutiflora "Karl Forester"- Feather Reed Grass

Texture in the landscape depends upon the distance from which the plant is viewed by the observer. In distant views, the overall mass of the plant is the dominating feature and the fineness or softness of a leaf or branching pattern is lost.

In terms of the overall planting plan, texture must balance in relationship to the axis. Weight on one side should equal the mass on the other side of the axis. For example, much fine texture- as the case would be in using Buxus- is required to balance relatively little coarse texture, as the case would be in the use of Viburnum rhytidophyllum, the Leatherleaf Viburnum. Intermediate plants are recommended to provide the necessary transition from one textural extreme to the other.

Warm colours such as reds, oranges and yellows tend to advance towards to viewer while blues, violets and greens tend to recede into the landscape. Warm colours read well and affect the eye more quickly than do cool colours. When using warm colours, they should be used in sequence which must be smooth and gradual. For example, red to scarlet to orange scarlet to orange to bronze to orange yellow to yellow to pale yellow to cream to white.

Consideration of the use of colour in plantings requires a thorough, practical understanding of the personality of the plants. To vigorously use colour and effective colour combinations requires a thorough knowledge of plants, their colours and seasonal changes with detail of twig, leaf, flower and fruit as well as principles of colour.

To create a harmonious effect in any group, a designer should strive to properly fit together plant forms, textures and colours into a harmonious whole or mass. Size of any mass or composition depends upon its location in relationship to other factors such as the need for screening, proximity to other groups, etc. Mass can be any size, but smaller masses or clumps are not normally as effective as larger, bolder mass plantings.

Proportion is the relationship of the width to the length of an area or the relationship to parts of an organization.

Triggered by the term "experience", how effectively the designer addresses people’s needs and the functional requirements of the site, considers ongoing maintenance requirements and the selection of appropriate plants, efficiency and economics will all combine to measure the aesthetic success of the project. All of the above must be carefully woven together to create an outdoor room that is truly pleasurable and enjoyable on a year round basis. Celebrate the seasons in style. Start the most fascinating of the fine arts by developing a garden that takes into account the above principles and elements of design.