Chapter 58 Envisioning a Style: Digital Photos, Dry-Erase Pens, and Silk Flowers
I confess that the horticultural aspects of bonsai come easier to me than the artistic side. One of the biggest problems that I have personally when styling bonsai is deciding which branches to keep or remove. It seems everyone but me can tell which branches should be cut off, and where the movement in the trunk is going to be most attractive. This was not such a concern when I was learning on small inexpensive stock trees; if I messed up, I bought another. Now that I am working with larger specimens which have been growing for several years, I am more worried about making mistakes that could be difficult or impossible to correct. I suspect that I am not alone in this regard.
Fortunately in looking up something else, I ran across a suggestion for how to visualize style more effectively. Thus was born this month’s column. I want to describe some non-destructive techniques that we can use to see the finished tree in the forest of random branches. All that is needed are some photos of candidate trees, and a couple of easily located items. This column is particularly timely because one step in this process is performed most easily in fall.
58.1 Where Do I Start?
Arthur Joura aptly describes the process of creating a bonsai as a conversation between the stylist and the tree. It is a poetic view, but how do we start that conversation? I broke the process into 3 element, which for clarity I will describe in the order they are listed. Remember though that the process I am describing is fluid, and each element provides information that will influence the others.
- Learn what makes each style “work.”
- Document each tree’s basic structure initially, and as it changes.
- Cut and paste roots and branches until you see what you like.
58.2 Learning the Styles
When a style “works,” it means the style creates an illusion of something that occurs naturally. For example, a tree in windswept style is meant to invoke the image of a tree leaning off a cliff. Its root and branch structure will be very different from a tree of the same species in broom style, meant to mimic a tree growing in a meadow. The styling “rules” that evoke the feeling of those locations put certain limits on what an individual tree can be made into. If a tree does not have the essential root structure for a windswept style, then that style is not an option.
The best style for a tree often is decided by the roots. While it is possible to force a tree’s roots into a different form, it is time-consuming and not always successful. It is simpler to find a style that best suits the roots, then see if the existing branches fit the style too. If so, great. If not, it is time to find out how much the existing structure will need to be changed to fit that style.
There are five traditional Japanese bonsai styles, but many other accepted modern forms. Penjing, European, and American styles add more diversity. Keeping them straight is difficult, so I suggest finding a book that contains photographs or line drawings of the various styles. There are many to choose from, and your own taste will largely determine which book you will like best. Personally, I refer most often to The Bonsai Workshop by Herb Gustafson (Sterling Press, ISBN 978-080690-5570, $19.95). It has written descriptions of the key features of a large variety of styles (both traditional and not), line drawings of idealized trees, and for many styles, photos of trees that fit the style.
58.3 Documenting Trunk & Branch Structure
A tree’s overall structure is defined by its “bones,” that is, the positions and shapes of roots and branches. For much of the year these can be hard to see. Fortunately this time of year deciduous trees drop their leaves, and many tropicals partly or fully defoliate in response to moving indoors. This creates an opportunity to photograph root and branch structure in detail. These photographs become the basis for the next step in the process.
The camera used for photographing trees need not be expensive. What is most important is that the camera be able to take close-up photos in which the tree fills the entire frame. Most hand-held cameras work quite well. Digital cameras offer some added convenience of either printing or viewing on screen, but film prints work fine.
After all leaves fall, but before storage for winter, clean the leaves from the pots. Place each tree on a table in bright shade, in front of a neutral, contrasting background. Try to avoid bright sun, because this throws shadows that can hide important details. You want to use a contrasting background so you can see all of the branches clearly. At a minimum take at least 4 photographs. Stand so you shoot the tree head-on (not looking up or down at it), and be sure you can see the entire trunk and all branches. Turn the tree 1/4 turn (a turntable helps) and take a second photo. Repeat until you have photos from all four sides. Also take a separate series of photos of just the roots. These will help you decide which styles the root structure is suited for.
If you have time, take additional photos. Instead of 4 photos, turn the tree half as much, and take 8 photos, so you have more information about the trunk and branch structure. Take photos of any other interesting features, getting as close as you can with your camera.
Once you have a full set of photos, store the tree for winter as usual.
58.4 “Editing” a Tree
When spring comes there often is so much to do that there is little time to think about how to style individual trees. Photographs taken in fall let you play with different styles and options before ever pruning the first branch. You have the entire winter to plan out what branches to keep, and what to remove.
Print out or look at the photos of the roots. Are they evenly distributed, or asymmetric? Are they long and stretched on one side of the trunk but compressed on the other? Where are the gaps in the root spread? Based on this initial assessment, look at photos, diagrams, or descriptions of the various styles. Which styles are possible options? Adding and Removing Branches on Paper
Next comes a trip to the office supply store. Use their photocopier to make enlarged copies of the photos of the overall tree; aim for 8x10 inch enlargements. Do not pay for color; black and white enlargements are fine. While there, get a packet of clear 8.5x11-inch acetate sheets, some plain Post-It notes, and 1-2 dark colored dry-erase markers (I recommend one thick and one thin pointed).
At home, pick an enlargement that shows what will probably be the front of the tree. Tape a clear acetate sheet on top of it. You now have a canvas on which to experiment with branch placement. If you think a new branch is needed, draw it in. Eliminate branches on the existing photo by covering them with Post-Its. To change or bend branches, cover them with Post-Its, then draw the new shape. If you make a mistake, no problem, just erase it and go on. Use photos from other angles to check that what you plan to remove will not leave ugly scars.
Do not rush at this point; you have all winter. Take your time and come back to a tree several times. Check that you still like what you did; if not, erase it. Left on the acetate long enough, most dry-erase marks become permanent. If this happens, you can moisten a Q-tip with 70% alcohol and use it as an eraser.
Do not worry about foliage right now. If it helps you visualize the final tree, draw it in, but mainly focus on the branch and trunk structure, since these are established first. Fine tuning foliage pads only happens after the trunk and branching is set.
When you are happy with your creation, tape the Post-its down and let the marker ink harden. Now you have a documented record of your decisions, and an initial pruning plan for spring.
58.5 “Editing” a Living Tree Without Pruning
When it comes time to start actually removing branches in spring, you will double-check that your initial plan will actually work before ever cutting a branch. This time go to a craft or dollar store, and purchase some imitation silk or plastic foliage. Do not worry that it perfectly matches your trees; just try to get the kind that has wire in the stems, so it can be bent to shape. If you will be working with conifers, look for some silk foliage with needles rather than leaves.
Wait until after the first buds have opened, so that you do not knock them off. Following your photo plan, gently hide branches you plan to remove behind sheets of white paper, or wrap them loosely in scraps of smooth white fabric. To imitate new branches you want to develop, put small pieces of the silk foliage in the approximate location you drew the new branches or foliage pads; the wire in the faux foliage will help you bend it into place. If you plan to bend an existing branch or create a new apex, hide the original branch with paper or cloth, then add back the branch in the position you planned to bend it using silk foliage.
If your photo plan works, you should be fairly satisfied with the arrangement of branches that you can see on the tree now. However, you are just as likely to find something that does NOT work well in your original plan. That is okay too; look at other arrangements or modifications. It may only require a minor change to balance the composition and make it conform to your original vision. If so, you can start pruning confidently.
If you are not happy though after some fine-tuning, consider waiting until you have time to look at the composition more carefully. It may be that the tree is not going to fit the style you picked out, or the branches are not placed as well as you originally thought.
58.6 Some Final Thoughts
The horticultural needs of a bonsai tree revolve around the growing season. Root pruning, feeding, and other work needs to be done on a specific schedule. Bonsai artistry need not be so rigidly scheduled though. Do not be afraid to back up and change your mind, or wait until you see a clear goal. That is part of the art, of the conversation. If your tree is telling you, “that is not what I am or want to be,” then listen. You are less likely to regret your decisions.
The process I have just described may seem slow, and it does require considerable patience. As your artistic perspective improves, you will likely abandon this method entirely. However, I feel it is a reasonable approach to follow until you develop your own work style and preferences.