Mass Planting Landscape Plan Drawing

Landscape Design: Drawing a Planting Plan

Selecting and placing plants in the landscape is the fine art and scientific discipline of arranging found cloth to brand a salubrious, functional, and cute g. The mix of scientific discipline and fine art is expressed in the guiding principle of "right plant, correct identify," significant to select plants that can thrive in the growing weather condition of the site and locating them for both visual appeal and health. Selecting and arranging plants are the terminal steps in the overall pattern process after the site analysis is complete and the activity areas located and designed.Developing the planting plan is a sequential procedure, but it is important to remember that the procedure is not completely linear; sometimes decisions virtually plant material require reworking previous steps in the sequence and making adjustments to the plan. The process begins with developing a functional plan that shows the general concept for the landscape.

Step 1: Concept/functional programme

Developing a conceptual programme that shows the proposed general layout of the plant fabric is the outset footstep in the process. The conceptual plan is based on the site assay and the needs of the person or family using the infinite. This ensures that the program is based on the site conditions and the desired part of the plants. Meet Mural Design: Analyzing Site Weather condition (https://edis.ifas.ufl.edu/ep426) for more data on site inventory and assay. Figure one is a conceptual program that shows the location of plant material with functional notes to create shade and privacy, control views, hide cruddy utilities, and draw attention to the front end entry equally a focal point. The labels that describe the function of the planted areas guide the selection of plants to all-time serve the role, such as broad awning copse for shade and interesting and colorful plants for the focal bespeak.

Figure one. The concept/functional plan shows the layout and desired function of plants. (Click image to enlarge)
Credit: Gail Hansen

Stride ii: Master plant list

Creating a principal list of possible establish materials for use in the planting plan is the second step in the process. The first consideration is to choose the right plants for the site weather condition. Refer to the site analysis to determine the growing conditions in each area of the yard and match found choices to those conditions. Remember to consider light requirements (sun or shade) for each plant likewise as soil and h2o requirements. Besides consider the USDA Hardiness Zone and the temperature ranges for the surface area. See Right Plant, Right Place: The Art and Science of Landscape Pattern – Establish Option and Siting (https://edis.ifas.ufl.edu/ep416) to learn more about the science of selecting plants for growing conditions. Once growing requirements are satisfied, consider the visual characteristics of each institute as you create the list.

Don't forget the existing plants in the landscape. Depending on the health of the existing plants and the new layout for activity spaces, some of the existing plants may need to exist removed or relocated. Any healthy existing vegetation that can be used with the new plan should be considered for saving, and all old, unhealthy, or overgrown plants and invasive exotics should exist removed. Consider relocating plants that may non be at their all-time just would do good from a amend location.

Mature trees are the virtually important existing vegetation. Decide which trees yous would like to continue and endeavour to piece of work the planting programme around them. Mature, healthy trees add value to your property and beauty and function to your yard. Trees with large shade canopies help cool the abode and reduce the demand for air-conditioning. Copse also influence the type of plants and turfgrass appropriate for shady conditions. If you are unsure about keeping copse, consult an arborist to decide the health and projected longevity of the tree. If trees could nowadays a problem in the futurity because of location or size, information technology is best to remove them while they are small.

Start the main plant list with familiar plants that y'all know thrive in the area. Detect landscapes in your neighborhood or community and larn almost the plants you lot would similar to employ in your thou. When selecting plants, brand sure they are locally available. Consult several sources for information on the growth habits and requirements of the plants. Additional data near plant option is available from your local canton Extension part (www.solutionsforyourlife.com/map) or on the Florida-Friendly website, http://fyn.ifas.ufl.edu/publications.htm, where you tin download The Florida-Friendly Landscaping™ Guide to Plant Selection & Landscape Blueprint for a complete list of Florida-Friendly plants. Make sure to choose plants appropriate for the USDA Hardiness Zone, soil pH, and wet and calorie-free atmospheric condition noted on the site inventory and analysis. Basic information on the plant listing should include the general size, plant texture, shape, colour of flowers and/or foliage, and required light atmospheric condition. Additional information can include the mature peak and spread, seasonal changes, and the bloom period. This data is useful when arranging plants for aesthetic appeal. Run across Mural Design: Artful Characteristics of Plants (https://edis.ifas.ufl.edu/ep433) for guidelines on selecting plants for visual entreatment. Group the plants on your listing based on type and part, such as trees (structural or focal), shrubs (structural), and groundcover (massing). List a reasonable number of proposed plants in different sizes. The goal is to have a good choice without existence overwhelmed by the variety of choices (Tabular array 1). Table one is an example of a partial plant listing with plant characteristics for like shooting fish in a barrel reference when selecting last constitute choices.

Step 3: Preliminary planting programme

Preliminary plans evidence the proposed layout of the individual constitute material. The quick sketches are used to explore different layouts and arrangements to get a rough idea of the size constraints and best locations for plants. Several preliminary plans are ofttimes used to create one final programme, taking the best ideas from each plan. Use elementary circles and gratis-class lines to indicate plant material location and size. Color palettes tin can also be tested by using colored pencils to draw the plants (Effigy 2).

Figure 2. Preliminary programme that shows found beds, tree locations, and color combinations. (Click image to overstate)
Credit: Gail Hansen

Step 4: Locate and draw plant beds

Use the preliminary program to start developing plant beds on the base of operations map where plant material will be located, typically around buildings, on the edges of sidewalks and driveways, along fence and property boundaries, and around features in the mural, such equally pools and patios. Plant beds are traditionally curvilinear and follow the form of the building, driveway, or walkways. The meandering bedline typically undulates to create deep and shallow beds for a natural look (Figure 3). General rules for cartoon bedlines for plant beds include the following:

• Utilize the arc and tangent to generate the form of the plant bed edges.

• Create dramatic, sweeping curves when drawing on the newspaper. Shallow curves on paper tend to await like straight lines when standing in the grand and viewing the plant bed. Shallow beds are typically used on the side of the edifice where holding lines constrain the depth of the bed.

• Use the shape of the building and the hard surfaces to guide the location of the bedline. Draw a wide arc on the corners of buildings, walkways, and patios to provide enough room for larger plants.

• Notation that plant bed depth typically ranges from 5 feet for a shallow bed to thirty feet for deep beds.

• Use very broad, deep curves (1/two or 3/4 circle) on outside and inside corners.

• Note that institute beds that originate at a building or hardscape edge should brainstorm perpendicular to the direct edge before first the curve.

• Locate constitute beds under trees just inside the drip line (the outside edge of the tree awning) of the tree for aesthetic and protection purposes.

• Use floating plant beds (beds not continued to a building or walkway) to create spaces and locate structural plants, such as large trees, in the yard.

• Create "spaces" past using bedlines to ascertain the border of open sod or mulch areas. These open areas or voids in the landscape are used for recreation and entertaining or equally a simple open up foreground surface area that highlights the more than complex plants in the background.

Figure 3. Bedlines with a curvilinear form flow around the edifice corners and walkway. (Click image to enlarge)
Credit: Gail Hansen

Once the plant beds accept been defined, they need to be filled with plants. There is a logical club to placing the plants, depending on the type of institute and the part it plays in the landscape. Big plants, such as trees, which separate spaces by creating implied walls, are chosen structural plants considering they provide structure in the yard. They are also long lived and permanent through the seasons, so they add stability to the garden. These are the first plants to be located on the plan. Focal or ballast plants are located side by side. These are plants that are strategically located to create emphasis, attract attending, or provide an anchor in the diverse found beds. The last plants to exist placed are the massing plants, which fill in the institute beds and make upward the majority of the plants in the beds. For more information nigh arranging plants, see Mural Design: Arranging Plants in the Landscape (https://edis.ifas.ufl.edu/ep449).

Stride 5: Locate structural plants

Structural plants are large trees and shrubs. The trunks of the copse act equally implied walls to split the activity areas of the thousand or to create a screen along the belongings line (Figure 4). Trees too provide enclosure overhead with branches and canopies to give a space man calibration. There are several guidelines to follow when locating copse:

• Make sure the size of the mature copse and shrubs is proportional to the building and the overall size of the site. Tall buildings and big sites demand alpine and large trees for balance.

• Requite the copse and shrubs room to grow. Don't locate them as well close to buildings and sidewalks or patios.

• Locate trees to provide shade over the air conditioner and help conserve energy by blocking sun on the east and west sides of the building.

• Avert locating structural plants where falling leaves, fruit, or twigs will create a problem.

• Use copse to block unsightly views or frame an attractive view.

• Consider how the color, texture, and form will look with the building colors and materials.

• Utilize the large mass of the tree canopy to residuum the mass of the building.

• Locate plants to avoid ability lines and undercover utilities, such as water lines and septic systems.

Figure iv. Locate trees to create shade, block or frame views, and create spaces. (Click image to overstate)
Credit: Gail Hansen

Pace half-dozen: Locate focal and anchor plants

Focal/anchor plants can be medium to big shrubs and small copse. They are considered both focal and anchor plants because they tin serve as a focal point and an anchor for institute beds. Anchor plants are sometimes chosen "theme plants" because they most oftentimes establish the design theme for the m. Focal plants are characterized by an unusual shape, color, or texture that contrasts with other plants. Focal plants attract attention to a particular area of the yard or, through careful location, lead the eye effectually the chiliad (Figure five). Anchor plants provide unity through repetition in the plant beds. There are several considerations when locating focal/anchor plants:

• Choose plants that have high dissimilarity with surrounding plants.

• Locate plants in view of natural sight lines, such as the end of a walkway or the view from a window or door, a patio, or the sidewalk and street.

• Identify a focal point opposite an unattractive expanse to divert attention from the poor view.

• Limit the use of focal points. Too many tin cause defoliation about where to focus attending and make the heart jump around the space.

• Use other elements with the plants for the greatest contrast. Brightly colored ceramic pots are a good selection.

• Employ structures and features such as trellises, sculptures, and birdhouses among plants as focal points.

• Create a focal point with a nice composition of colorful plants. Grouping colorful plants at the front door is a good example.

Figure 5. Focal/ballast plants direct views and establish a theme. (Click image to enlarge)
Credit: Gail Hansen

Pace 7: Locate massing plants

Massing plants are the medium and small shrubs and groundcover that make full out the plant beds. These plants make up most of the plant fabric in the beds and should have a variety of textures, colors, and shapes for interest. One approach to locating massing plants is to draw complimentary-form or irregular "bubbles" within the found beds to show the location and extent of a particular plant cluster (Figure six). Guidelines for using bubbling to represent institute location include the following:

• Use horizontal and vertical layering. Vertical layering is the use of a multifariousness of heights for interest, and horizontal layering is the use of institute masses within beds.

• Draw bubbling to point the horizontal layers forth the ground plane so they touch each other and overlap in first, interconnected layers.

• Keep in mind that the greater the depth of the plant bed, the greater the number of horizontal layers. A shallow bed may only have ane or two layers, while a deep bed may have six or 7 layers.

• Draw the shape of the chimera every bit the desired shape of the mass considering each bubble represents a unlike mass or cluster of the same constitute.

• Draw the get-go bubble on the plan next to a building, fence, or hardscape edge because this is a fixed edge that does not allow flexibility in the bubble shape.

• Work the bubbles out into the landscape toward the plant bed edge where there is more flexibility. Both the edge of the bed and the bubbles tin be reconfigured throughout the process until a good fit and form are created.

• Typically, information technology is better to mold the shape of the bubbles to fit in the constitute beds.

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Figure half dozen. Draw irregular "bubbling" to indicate where massing plants will be located. (Click paradigm to enlarge)
Credit: Gail Hansen

Step 8: Specify plant characteristics

The next step is to specify the aesthetic characteristics of the plant that will be placed in each bubble. Label each with the flower or foliage color, the desired texture, the form, the height and size, the type of plant (e.g., shrub, annual, or perennial), and the seasonal characteristics, such every bit evergreen or deciduous. See Mural Design: Aesthetic Characteristics of Plants (https://edis.ifas.ufl.edu/ep433) for more information about using institute characteristics to develop found compositions. Beneath are some general guidelines to follow as y'all select plants based on characteristics:

• Starting time with the structural plants and focal plants. These plants accept a high functional value, so consider the function first (east.g., shade or a focal signal) and think well-nigh the height, shape, and seasonal variation that affect the function.

• Develop a polish transition across the top of the plants from the tallest plants to the lowest plants and back, both from front to back and side to side.

• Rest the distribution of deciduous and evergreen plants, as well as perennial and annual plants, so in that location are no large gaps when plants go bare or go down in the winter.

• Give structural plantings (trees and shrubs) the highest percentage of evergreen plants to maintain the structure and organization of the garden.

• Place larger plants with less detail farther away from the viewer (to the dorsum of the institute bed), and identify plants that take finer detail and more interest for close-upwardly viewing in the front of the bed or closest to the viewer.

• Remember the activities that take identify next to the institute beds (i.e., apply plants with a nifty growth habit next to walkways [avoid sprawling plants], and choose soft plants with no thorns well-nigh play areas).

• Keep in mind the colour scheme, and residual the distribution of color by location and through the seasons. Remember, color is temporary and should only be used to heighten the planting. The composition should be pleasing without color.

• Create interest by including a diversity of heights, shapes, and textures. Achieve unity through the careful location of each.

Afterward the structural and focal plants take been described, specify the plants in the bubbles closest to the house, using the color and texture of the edifice equally your starting betoken. For example, if the wall façade is a calorie-free-colored crude rock, the plants next to the wall could contrast by using dark light-green, smoothen leafage, or blend by using low-cal green, rough-textured leaf. Once you have described the first bubble, move to the adjacent chimera and label it. Every bit y'all progress from bubble to bubble, keep in mind the characteristics of the surrounding plants. Work back and along between bubbles until yous have the right combination of characteristics and all bubbling are labeled (Figure 7). Remember, a number of plants on the list will fit the characteristics, so at that place is flexibility throughout the process.

Figure 7. Describe the type of plant and the aesthetic characteristics of each plant mass. (Click paradigm to enlarge)
Credit: Gail Hansen

Step 9: Select plants and depict on the plan

Each plant mass is assigned a establish from the master plant list based on aesthetic characteristics and growing requirements. Review the list and select the plant that matches the well-nigh possible aesthetic characteristics listed for each chimera. As well, lucifer the growing requirements for each plant to the site status for each bubble. For most growing conditions, there is typically a broad selection of plants, and then the concluding decision is usually based on aesthetic characteristics. Call back, however, to e'er consider the growing conditions beginning. An aesthetically pleasing plant is of no use if it will not survive and thrive in the desired location. In more than restrictive growing conditions, such as deep shade or very moist soil, the growing requirements may limit plant choices. Review the visual characteristics of the final plant choices to ensure a adept variety of textures and forms for interest and a mix of colors that supports the colour scheme. Once you have adamant the plant for each bubble, the individual plants must be drawn to show the verbal location and size of each establish. The landscape installer or homeowner will use the program to locate the establish in the field and to buy the correct number of plants. The technical process for drawing the plants is as follows:

• Draw each plant as an individual circumvolve with a diameter the same size as the width of the mature establish. A establish with a two-pes spread at its mature size is represented with a circumvolve drawn at a 2-foot diameter at the calibration of the plan, which is typically 10 scale (1 inch equals ten feet, 0 inches).

• Stand for the spacing of the plants (circles) on the institute schedule by noting the altitude between the centers of the circles (i.e., the centre of the plants) as measured from centre to heart of the plant. For example, a found spacing of 2' o.c. (2 anxiety on center) means that plants with a ii-foot mature spread are planted two anxiety autonomously from center to center, so they touch when at their mature size.

• Fill the bubble with plants by staggering the circles in a rickrack blueprint to fit the plants equally closely every bit possible (Figure 8).

• Draw the start plant next to the building or a difficult edge and work along the border or edges, then out into the bubble until it is filled.

• Distinguish circles of the same size that represent different plants past using different symbols (encounter graphic program, Figure 9) or a unlike colour to be graphically clear.

• Continue filling the bubbles with the found symbols until all the plants have been organized.

• Make adjustments to the outside edge of the plant bed or in the number of plants in the bed every bit necessary to maintain the class of the plant bed.

Figure 8. Circles in the bubbling represent the private plants in the institute bed. (Click image to enlarge)
Credit: Gail Hansen

Effigy 9. All the bubbles are filled with circles to represent beds with complete plant coverage. (Click prototype to enlarge)
Credit: Gail Hansen

Step 10: Labels and constitute schedule

Each symbol represents a different establish that must exist identified by a count and the proper name of the plant. The count represents the number of plants that are in the cluster or mass (Effigy x). After all the plants take been identified and counted, the full number of each type of found is determined past calculation the count of the separate plant masses together. Leader lines are drawn from one of the plant symbols in the mass to a blank space on the plan where the count and name can exist written. Describe the leader lines as short as possible and don't cross lines to avoid defoliation. Labels can be fatigued in the footprint of the firm or whatever open up expanse on the plan and outside of the property boundaries of the plan. For clarity, it is best to go on all of the text at the aforementioned bending and grouping the labels so they are easier to discover on the programme.

Figure x. All plants are labeled past the full count and plant name. (Click image to overstate)
Credit: Gail Hansen

The terminal plant schedule is a list of all the plants on the plan with the total quantity for each plant. Each plant is listed past the common proper name and the scientific proper name. Common names can vary, and some plants have more than than one common proper name, so the scientific proper noun is required to ensure that the correct plant is purchased past the homeowner or installer. The size of the container for each plant and the spacing for installation is indicated. The spacing shows the distance from eye to center of each plant at the fourth dimension of installation. Tabular array two shows a typical plant schedule for pricing and installation.

Key concepts to remember

The primal concept to remember when drawing a planting plan is to select the right constitute and locate it in the right place. Selecting plants requires consideration of the growing requirements that match the site conditions, the aesthetic characteristics of the institute (color, texture, course, and size), the functional function of the plant, and the maintenance requirements of the constitute. This concept is referred to equally the art and science of planting design.

Additional Resource

Austin, R. 2002. Elements of Planting Design. New York: John Wiley & Sons.

Bertauski, T. 2005. Designing the Landscape: An Introductory Guide for the Mural Designer. Upper Saddle River, NJ: Pearson Prentice Hall.

Booth, Due north. 1990. Basic Elements of Mural Architectural Design. Prospect Heights, IL: Waveland Press.

Scarfone, South. 2007. Professional Planting Design: An Architectural and Horticultural Approach for Creating Mixed Bed Plantings. New York: John Wiley & Sons.

Thomas, H., and S. Wooster. 2008. The Complete Planting Design Course: Plans and Styles for Every Garden. London: Octopus Publishing Group.

Walker, T. 1991. Planting Design. New York: Van Nostrand Reinhold.

Tables

Table 1.

Proposed plants with physical characteristics listed for piece of cake reference

Table two.

A plant material schedule used for purchasing and installation

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Source: https://edis.ifas.ufl.edu/publication/EP456

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