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Bonsai Basic Design 2-12-13

Bonsai Basic Design outlines the key visual elements and principles of bonsai design. The goal of bonsai design is to create an artistic representation of a mature tree using roots, trunk, branches, foliage, and a pot. Visual elements include line, form, texture, and color. Principles of effective bonsai design are proportion, balance, movement, space, emphasis, simplicity, contrast, and unity. Together, the visual elements and design principles create a miniature landscape that tells a story.

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Fabio Oliveira
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685 views49 pages

Bonsai Basic Design 2-12-13

Bonsai Basic Design outlines the key visual elements and principles of bonsai design. The goal of bonsai design is to create an artistic representation of a mature tree using roots, trunk, branches, foliage, and a pot. Visual elements include line, form, texture, and color. Principles of effective bonsai design are proportion, balance, movement, space, emphasis, simplicity, contrast, and unity. Together, the visual elements and design principles create a miniature landscape that tells a story.

Uploaded by

Fabio Oliveira
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Bonsai Basic Design

Bonsai
Artistic representation of a mature tree in
nature
A story in the telling

Goal of Bonsai Design


To create an arrangement of visually pleasing
artistic components:

Roots, trunk, branches, foliage, negative space


Pot and accessories.

Visual Elements of Design

Line
Form
Texture
Color

Line

Expressed by movement of the trunk


Defines the style of the tree:
Formal upright
Informal upright
Windswept
Cascade, etc.

Formal Upright

Formal Upright

Formal Upright

Informal Upright

Informal Upright

Semi Cascade

Semi Cascade

Cascade

Slant Style

Broom Style

Form

Branch position, length & arrangement

Outline or shape of the tree

Texture

Quality of bark and foliage

Defines character of masculinity or femininity

Masculine

Masculine

Feminine

Feminine

Color

Defines a trees character

Tree health

Principles of Design

Proportion
Balance
Movement
Space
Emphasis
Simplicity
Contrast
Unity

Proportion

Fibonacci sequence 1, 1, 2, 3, 5, 8, etc.

Golden ratio Rule of thirds

Golden Ratio of thirds

Trunk Height

Trunk width

Branch ratios

Branch Length

Balance
Visual balance may not have physical balance

Asymmetrical balance more dynamic/interesting


Consider effects of value, color, shape, texture and
position

Balance by value

Smaller darker can balance larger lighter

Balance by color

Smaller brighter can balance larger more neutral


colors

Balance by shape

Smaller complicated shapes can balance larger


simple shapes

Balance by texture

Smaller rougher, complex surfaces can balance


larger smoother surfaces

Balance by position

Small object far from center can balance larger


object nearer to center

Balance of visual mass

Balance in a container

Tree Position in Container

Movement

The directional path of our eyes


Usually trunk and/or branch line

Space

Interval or distance between elements

Negative space an important design component


Has weight and mass
Adds to the illusion of depth
Principles of balance apply

Emphasis

Intended focus of the design

Simplicity

Removal of distracting or non essential design


elements

Contrast

Branch line and trunk movement


Color difference of foliage and trunk
Textures difference of trunk and deadwood
Surface: difference of trunk and stone, moss and
top dressing

Unity

Repetition of similar elements creates rhythm


Triangle most common element
Continuity of trunk style
Continuity of trunk/branch relationship

Repetition of the triangle as the


visual element

Discontinuity of trunk line

Continuity of trunk line

Continuity of trunk/branch

Unity of trunk movement

References

Bonsai Techniques I, John Yoshio Naka


pp. 15-28
Basic Bonsai Design, David De Groot
pp. 1-37
Journal of the American Bonsai Society,
Vol. 42 #4 pp. 20-26,
Vol. 43 #1 pp. 15-15

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