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• Clipping Theory • Clipping Tools • Clipping Technique • Simple Shapes
• Complex Shapes & Figures • Problem Solving

• Complex Shapes & Figures (Cimplex & Figurative Shapes)

Introduction
It must be remembered before our imagination runs away with itself, that topiary is made of living plant material and, as such, needs to be treated with suitable respect. The normal rule of wide at the bottom, narrow at the top which allows light to all surfaces, can of course be bent slightly for our art, but not ignored altogether.
As the shapes become more complex, so too does the need for an underlying support framework of wood, metal or wire. It should be stressed, however, that these should be seen as temporary if possible and ultimately it is hoped the shape will become self-supporting. Untold damage is done to topiary as, in time, these plants grow and are constricted and strangled by well-meaning, well-hidden ties. Far better to make and, if necessary, remake them from string that rots after a year or two, than wire which, whilst well-hidden, will still strangle and kill after fifty years!

Finally I would suggest that we don¹t take this art form too seriously-
remember even our best attempts do not look perfect imitations or replicas of what we are trying to achieve. They are stylised topiary versions and should smilingly be seen as such.

Tiered combination shapes
These are basically shape-upon-shape. They can be the same form as in a series of balls - one on top of the next, or maybe different i.e. cube-base then ball, then a cone finial.
They may be developed from a simple shape as a starting point. Here, an existing cube or perhaps hemisphere is allowed an uncut shoot on top to develop into a new leader to support and create the next tier of growth.
This is a slow year-on-year process of development, but that is part of the reason topiary is so prized - it does take many years to create.

The choice of shoot for the new leader is very important. Not only does it have to be central to the projected shape, it also has to have arisen from a centrally placed vertical growth in the lower tier. So in time, as it thickens, it will project the new tier¹s weight down vertically to earth and be a stable supporting structure.
It is worth taking some time looking into the existing tier to choose
precisely the right shoot for the job. Do not worry if it seems thin and puny - it will develop strength and thickness in proportion to the size of top growth it ultimately supports and feeds.

These tiered forms may also be cut from larger existing shapes, with big cones being perhaps the most instantly amenable for this purpose. If care has been taken to encourage a central leader, having horizontal radiating growth with no competitive leaders, then these will be ideal. It is time well spent to peer into the shape, studying its supporting branch structures carefully before choosing the exact placement of the tiers. When all is decided, cut boldly back to the main trunk. After a few years of growth and careful clipping, the shapes will tighten up considerably. In time, though,
other problems may arise...
In a tiered cake stand or series of discs, it is often the case that they tend to become more oval as more light to one side encourages thicker growth there. They can be trued up again by looping some string around the central trunk and circling the shape with a set length, cutting to this line - like drawing a radius with a set of compasses.

It is possible in time too, that the top of one tier can grow up to join the bottom of the next. This blurs the definition of any shape and is best avoided by cutting large spaces between tiers in the original, or removing the bottoms of tiers where possible, or most drastically by removing alternate tiers.
Where topiary pieces are created or developed, shape-upon-shape, with no clear area of trunk dividing sections, there is always the danger of shoots from one section growing up and strongly taking over part of a section above. In time these areas become more apparent as they are less well-supported than the tier which they have taken over and they tend to flop out. They also make rejuvenation very difficult, as cutting in to one part of a shape leaves holes in another. Keep an eye out for such growths and remove them at an early stage!

Architectural Forms
Under this heading we might include topiary pieces such as archways,
bridges, castles and other replicated building features. Often some feature from the house - roof angles, window arches, chimney features etc - is picked out and copied in topiary or hedging.

Here the general rules of topiary must be applied for best results- full light to all surfaces and it is especially important to ensure that verticals are vertical, horizontals are horizontal and flat surfaces are truly flat. Very regular trimming and prompt attention after regrowth will also help promote the illusion.
Wooden or metal structures may be needed in the early stages to help tie in new growth to. It is important to use relatively quick rotting string and if necessary remake the ties from time to time rather than risk the growth being ultimately strangled by wire ties. In some cases, once the growth has hardened in position, the supporting structure may be removed. It is however often better to leave it undisturbed, in-situ and let new growth cover it over. Remember, simplified shapes always work best. To much intricate and fussy detail is soon lost in growth.

Crenelations
A special mention must be made of crenelations, or castleations, and the thought could well be extended to similar crowning additions.
Any features or finials placed on top of a structure - such as crenelations - work best where they are made to arise where the central leaders would be.
If added on as an afterthought and not lined up with the structure of the supporting shape, then they will inevitably lean and sag as their size and weight grows. In a similar way, windows or other openings prove most successful when placed away from rather than over strong growing leaders.
With topping off features such as crenelations it must also be borne in mind that they will grow in time and the gaps between will shrink. Over the years definition is lost if drastic cutting back is not resorted to.

Letters and Numbers
The easiest and quickest way to represent letters and numbers in clipped work is laying them out in plan form as low hedges. These tightly trimmed patterns, often formed in dwarf edging box can look very impressive, particularly if viewed from above. More traditional topiary techniques can also be used to form larger, vertical versions of letters and numbers. All that is required is the will and some patience...

A

A -would be formed from two bushes trained up towards each other via some sort of supporting framework. They would join at the top and also half way where matching branches would be led off across a horizontal support.
B -would be formed from one plant placed at the vertical back of the
supporting frame. Branches could then be trained around the curves of the figure.
C -again a single plant trained to a curved frame

Numbers -are created in a similar way.
Remember, the framework must be made of a material durable enough to last perhaps many years until the topiary form¹s branches have hardened into shape. The ties, however, should be made of a twine that will only last a season or two before rotting - thus ensuring the shape is not strangled over time.

Birds
A traditional topiary favourite, often seen as freestanding features or as finishing finials on round or square bases. Topiary birds can seldom be identified as replicas of real species, but are best seen in a unique class of their own.
There are two traditional forms, one with a vertically set fanned out tail- in theory a peacock. The other having a long horizontal tail - in theory a pheasant. In both cases, short-term support is needed to hold the branches in position initially. Basically an area of multiple growths is bent and held in four different directions. One group at 45 degrees to form the neck (with the head being pulled down to horizontal by string line). Two groups of branches spread out at either side for the wings (only if required). The last group of branches is spread out and tied down to the rear to start the tail.

In time, with the slow process of growth, clipping, infill growth, clipping etc the bird will take shape, fill out and become more distinct. Remember, as in all topiary, fine features are lost so a stylised, exaggerated approach is required. If the bird has wings however, one detail which does look good is to clip them tightly whilst leaving longer growths to the rear - to imitate the flight feathers.

Animals
Elephants, horses, dogs, snails etc - and I suppose even humans - would fall into this very extensive category. Again a realistic impression is required, not a perfectly detailed replica. That means successful topiary will have the identifying features exaggerated and all other details removed or simplified. Strong wire or metal frameworks will be needed in the early stages and these may well be useful to convey the look of the finished creation for many years until the plant grows and covers it.
When the shape stands on two or four (or more?) legs, each one should be an individual plant trained together higher up to form the body. Different textures can be formed from resorting to hard regular clipping in some areas and in other areas long growth being left between annual trims. The effect can be further enhanced by using golden or variegated plants where clipped and unclipped growth can appear as different colours.

Cloud and Abstract Sculptural Shapes
The billowing effect of cloud pruning is becoming popular now in Western gardens, although it has been a tradition in the East for some time.
Abstract shapes too in topiary have been created and can look stunning in a modern formal setting.



One of the great benefits of these styles for their creators is the ease with which they can be created from existing naturally untrimmed plants and thus their speed of maturity into the finished product. Also, they cannot be seen by anyone to be not quite perfect. Where, in comparison, the more traditional geometric shapes will exhibit their faults to all.
The same rules apply to these forms as to the more traditional shapes... most importantly, full light to all trimmed surfaces. Almost any shape is possible, only limited by your imagination, the plants natural growth habits and the usual constraint of time.

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