Great topic Ron. Robert Steven refers to this as the "point of interest". Much like in photography, when you shoot something, there is something there that you are shooting, that one object (or idea) is the "subject", and it can be anything as specific as a bird sitting on a branch,....or something as abstract as the tranquility of a beach.

Ron you keep mentioning the lower left branch. The right branch is the one that is out of place. It seems that so far the concensus of opinion has been that the lower right branch seems to be a larger focal point than the dark spot on the trunk. I think everyone here understands the basic premise. I just think that for illustration purposes, we have a picture of a tree that has a larger focal point than maybe you intended. That branch sticks out so large that most other items are pushed significantly into the back. Just my opinion.

A typo on my part. It is the lower right branch. Sorry I confused you

The #1 drawing is illusionary because I think the Artist wanted to challenge our sense of aesthetics. You may think that the knot hole is meant to be the focal point but the right hand branch is what really gets us going. In nature the first branch is usually the heaviest therefore why does it suddenly take an upward sweep with the foliage? The other branches conform to what we expect so why would something like this happen to contradict what our brain would accept as being normal.

The sheer weight of that first branch is counterbalanced by the mass of the trunk on the left which sits well with me. The pot would need to be wider and if we are sticking to the 'rules' the first and second branches are about the same length in this drawing which is usually not what we expect. Really it is all in the eye of the beholder. Great topic Ron.

Regards Ash

Actually Ash since the drawing was specifically created for me for one of my articles I know exactly why each and every feature is in that drawing. But as I said before the drawing is not really all that important. The concept is the important thing.

But what the heck, if that drawing gets everyone to thinking about the terms I hoped to discuss then I guess it worked perfectly ;o)

Hopefully there will be other examples posted by the members of this forum. Or even a better explanation of the terms.

In one way or another visual weight and focal point can be applied to all bonsai. Both good and bad bonsai. It has to do with capturing and holding the viewers eye. Ugly can do that just as well as beauty.

Here is another thing to ponder. Just why does a bonsai need to be displayed at a certain height. Why is that viewing height so important.

Could it have something to do with putting that focal point right in front of our eyes (vertically at least).

Interesting thread Ron! I'd like to add some parts to the discussion though. I think that "the focal point" can't really be discussed without adding a larger image so to speak.

Focal point is really a result of decisions previously made when deciding the composition. What one should ask oneself is "what is it that I want the viewer to see, in what order, and how can I achieve that?". Focal points have no value in themselves. I think of composition like a story, you've got to keep the readers interested for the whole thing and not sidetrack so much. Say what you want to say, but say it clearly (but subtle).

Usually there's more than one focal point, or points that the artist wants the viewer to see. By using different techniques a good artist leads the viewer through the object so that the qualities shows and the faults doesn't. It doesn't have to be contrast or a something that sticks out. Just think of how deadwood can be used as an "arrow" or the tips of foliage pads (as in Rons first example).

When composing pictures there's two very important "rules":

1. Don't lead the viewer out of the picture.
2. The focal point should be where something happens.

I think that what messed up your first example is the quirk on the lowest right branch, that actually leads the eyes away from what is really interesting, wich is the hole in the trunk. So in that sense I'D say that the focal point is at the wrong place (or poor composition). I'm not saying you're a bad artist, but maybe it wasn't the best example.

If I had a tree that looked like this I'd be tempted to do something like this (even though I'll probably be crucified for saying so). I think it makes more sense. Sorry about the crappy pic, all I have access to is paint for the time being. The line should start in the middle of the trunk and exit through the tip of the first left branch and then continue as in the picture. It's also an example of the things I wrote earlier...

Attached Images

pic1.jpg (15.7 KB, 41 views)

Just thought I would revive this thread and see where it goes. I had to leave it a while back to take care of a few things.

Mindcrime seems to be the one that got what I was talking about with the term “focal point” The quote above aught to be read for comprehension. Once you have done that then go back and read it again for better comprehension.

The other thing I mentioned in the article was visual weight (see article page 1 of this thread) Visual speed is another idea, as well as mass, that should be totally understood.

These are items we can use to capture the eye of the viewer. They are not bonsai terms per say. But they do apply to bonsai.

Understanding these terms ( and a few other artistic concepts) will take you beyond “this is how we style bonsai” to “this is why we do it this way”

There is much more to styling a bonsai than putting on wire and bending a branch. Putting on the wire is much easier than knowing why the branch needed bending.

Well guess it's a dead thread.