Developing your bonsai guide

Bonsai Guidance Handbook #5

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Contents
Section Contents Page
1 Introduction 3
2 Bonsai journey 4
3 Selecting a bonsai 5
4 Where to buy bonsai 5
5 Bonsai development routes 7
6 What makes a good bonsai 8
• Roots and nebari
• Trunk
• Branches and crown
• Foliage
• Pots
• Surface treatment
• General condition
• Maturity
• Freedom of pests and diseases
• Style
• Flowering and fruiting
• Deadwood
• Origins and difficulty in cultivation
• Rarity
• Stand
• Overall form
• Overall presentation

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1. Introduction
The UK Bonsai Association was established on the 21st of October 2018 as an umbrella
association bringing together all aspects of UK Bonsai. As a non-profit association, our purpose is
to promote knowledge and interest in all aspects of bonsai and to connect the whole UK bonsai
community.
We publish the UKBA monthly bulletin, which enables us to fulfil our main criteria of communicating
all information about UK bonsai events directly to all bonsai enthusiasts. The administrators and
helpers of the UKBA are volunteers who are dedicated to spreading the word about all aspects of
bonsai within the UK and also promoting UK bonsai abroad.
The UK Bonsai Association is open to all individuals free of charge, we invite you to join us.
For everyone, the bonsai journey is different and there is no right or wrong path or route. This
handbook is intended to provide some basic guidance on what makes a good bonsai, however not
all bonsai will follow the guidelines, but if you like your bonsai that is all that matters.
It is also aimed at helping you develop and progress your bonsai regardless of where you started
on your bonsai journey from the absolute beginner through to the advanced bonsai technician,
there is always room for development and improvement.
If however, you are looking to show your bonsai you will need to understand the requirements of
the bonsai show you want to display your bonsai in and ensure it meets the criteria.
For many years now there has been lots of discussion over the criteria for judging bonsai at all the
different levels of shows within the UK amongst both exhibitors and judges. There has always been
a view held that a more formalised approach is required to create a consistent, transparent, fair
and repeatable process for the judging of bonsai in the UK. The other handbooks in this series will
hopefully help with aiding the understanding of these criteria to improve the overall standard of
bonsai within the UK and encourage the continued development of bonsai trees to higher
standards.
For further information on judging bonsai, clubs and societies or setting up a bonsai show see the
other UKBA handbooks.
This handbook has been compiled following discussions with many bonsai hobbyists, bonsai
artists, judges and enthusiasts across all levels of bonsai and seeks to provide guidance as
opposed to one specific set of rules.

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2. Bonsai journey

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3. Selecting your bonsai

4. Where to buy bonsai

Also, have a look at this map of bonsai traders to find your nearest stockist:
swindon-bonsai.co.uk/2013/03/30/the-good-bonsai-guide/

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Top ten tips as a Beginners guide to purchasing bonsai trees
When buying bonsai trees, consider the following factors:
1. Species Suitability: Choose a species that is well-suited to your local climate and the conditions
in which you can provide care.
2. Age and Size: Older trees can have a more established appearance, but they also require
more care. Consider the size that fits your experience level and available space.
3. Trunk and Root Structure: Look for a well-proportioned trunk and interesting root structure, as
these contribute to the overall aesthetics of the bonsai.
4. Health: Ensure the tree is healthy with vibrant foliage, free from pests, diseases, and signs of
stress.
5. Nebari (Root Flare): A good bonsai often has visible surface roots (nebari) radiating from the
trunk base, giving it a balanced look.
6. Bonsai Style: Decide if you prefer a specific style (formal, informal, cascading, etc.) and choose
a tree that aligns with that style.
7. Pot and Soil: Check the quality of the pot and the soil mixture. A proper pot and well-draining
soil are crucial for the health of the bonsai.
8. Season: Consider the season when buying, as certain trees may be more stressed during
transport or in specific weather conditions.
9. Source: Purchase from reputable nurseries or bonsai specialists to ensure you're getting a
healthy and well-cared-for tree.
10. Personal Preference: Ultimately, choose a bonsai that you personally find appealing, as you'll
be the one caring for and enjoying it.
Taking time to carefully inspect these aspects will help you select a bonsai tree that fits your
preferences and is more likely to thrive under your care.

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5. Bonsai development routes

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6. What makes a good bonsai
Bonsai is a very varied art in addition to science and there are many elements that contribute to
what makes a good bonsai from the overall health of the tree to that of the aesthetic. Here are
some elements to consider as you develop your bonsai if you intend in the future to exhibit your
bonsai tree. Even if you don’t intend on showing or exhibiting this guidance will hopefully help you
to develop your bonsai over time if you consider each element critically next time your take at look
at your bonsai.

Roots / Nebari
Roots should spread out evenly from the base of the trunk forming a good buttress; they should be
free of exposed hair roots. Crossed roots are undesirable. Root-over rock styles should have their
roots firmly attached to the root and be evenly placed.
• nebari present
• roots should radiate from the flare
• no eye-poking roots (directly at the viewer)
• roots should be visible on the surface of the soil.
• do they look natural?
• anchor wiring should not be visible

Trunk
The trunk must respect the style indicated by the exhibitor and should have a good/even taper.
Pruning scars should be minimal and neatly calloused. Jin / Sharimiki effects should enhance
rather than distract (consider the over-whitened effects of some jins). Bark development should
suggest maturity.
• the trunk should flare at the base to visually anchor the tree
• the taper of the trunk correct –it should taper as it ascends (no reverse taper acceptable)
• the trunk should be wider near the base and become gradually thinner toward the top
• the trunk should lean slightly towards the viewer and not move back on itself
• apex should finish in the direction set by the base – flow maintained
• the graft should be low, unobtrusive & match under stock/scion
• curves in the trunk should not result in 'pigeon breast' (roundness toward the viewer)
• free from wire marks

Branches / Crown
The branches should be in proportion to the trunk, with the large ones in the lower part of the tree
and should alternate avoiding opposing branches. They should be well set if wired and have good
twig ramification. A well-formed crown is desirable. Wire scars can detract from the presentation of
branches. Good structure is vitally important to the presentation of the tree.
• leaf size suitable for bonsai tree species
• branches ramified
• correct branch placement
• branches should be staggered, not directly across from each other, and should be thicker toward
the trunk
• no crossing branches, or branches that cross the trunk

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• no eye-poking branches (pointed directly at the viewer)
• the first branch should be placed approximately one-third the height of the tree
• succeeding branches placed at one-third the remaining distance to the top of the tree
• branches go on the outside of the curves (No belly branches)
• the branch diameter should be in proportion to the trunk. Branches that are thicker than one-third
of the trunk diameter will be too thick
• the first branch should be left (or right), the second branch right (or left), and the third branch
should be the back branch
• branches should visually alternate, no parallel branches
• branches should diminish in size and diameter as they ascend
• there should be space between the branches to 'Let the birds fly through'
• the first and second branches (Left and Right branches) should be placed forward of the midline
to 'invite' the viewer
• the first, second, and third branches are approximately 120 degrees apart, with the back branch
not directly behind the tree
• only one branch per trunk position, no 'wheel and spoke' or whorled branches, or bar branches
(branches directly opposite each other)
• branches should create an outline of a scalene triangle with the apex representing God, the
middle corner man and the lower corner earth
• secondary branches should alternate left and right and follow the rules of main branch
placement, except there should be no secondary branches moving up or down. This creates the
foliage pad
• a jin should not be hidden in the foliage
• the wire should be unobtrusive, and there should be no disfiguring wire marks

Foliage
The foliage should be in proportion to the size of the tree, it should be of good colour, healthy and
free from pests and disease. Excess foliage should be avoided, too dense a canopy may create a
top-heavy appearance and so detract from the harmony of the presentation. Space between the
foliage reduces the visual weight and provides light and air within the composition.

Pots
Pots should take into account the stage of development of your bonsai. There are many pot types
for growing your bonsai in addition to showing your bonsai. It may not be appropriate to keep your
bonsai in a show pot permanently and a growing pot may be better for the continued development
and health of your bonsai tree.

When growing trees from pre-bonsai onwards, with particular reference to developing a dense
fibrous root system, the use pond-baskets is recommended which all but eliminates long leggy
roots going round and round the walls of the training container, and produces a very dense fibrous
root system in short order as well as preventing any possibility of over-watering.

The show pot should display the tree to its best advantage. The colour should harmonise with the
tree, and be subdued to avoid overpowering the tree in its presentation. It should be of the
appropriate shape to provide balance and harmony to the exhibit. Garish colours should be
avoided but possible in Shohin and Mame. Rocks/slabs should be given the same consideration
when used instead of a pot.

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• the correct colour for bonsai tree- coloured glazed should be used for flowering & fruiting trees &
colour to complement flower colour
• pots for conifers and junipers tend to be unglazed and earthy in colour
• does the style, shape and size of the pot fit the character of the tree?
• correct dimensions of the pot for the bonsai tree
- depth of the pot should be set by the diameter of the trunk except for cascades
- width of the pot for tall trees should be 2/3rds the height of the tree
- width of the pot for short trees should be 2/3rds the spread of the tree
• bonsai pot and tree in harmony
- tree should be placed behind the midline of the pot, & to the left or right of the centre line
- uprights with little movement = rectangular pots
- informal uprights = oval/round pots
• oversize trees = deep rectangular pots
• cleanliness of bonsai pot

Pot Volume
Perhaps obvious, but the first and overriding requirement is that there’s at least enough room in the
pot for the roots and for sufficient soil for the roots to thrive. The decision here has to take into
account of how much root might be removed in the potting process, how vigorous the growth might
be and how much new root development is wanted.

Pot Proportions and size

Further to assessing the volume, the proportions of the roots, e.g. deep and narrow; wide and
shallow, will influence the proportions of the pot. It is, however, quite common to re-arrange the
root shape to suit an aesthetically pleasing pot of quite different proportions. This will depend on
the flexibility of the roots: a very real benefit from having mainly fine roots below ground level.
The generally-accepted guidelines i.e. characteristics that give pleasing results, for the height for
pots for the main bonsai styles are as follows:
1. Formal uprights, informal uprights and slanting: height of pot approximately the same as the
trunk diameter a few cms above ground level.
2. For semi-cascades: height of pot such that the lowest part of the tree is not below the bottom of
the pot.
3. For full cascades; height of pot can be anything up to and beyond the lowest part of the tree. It
is usual for the depth to be at least two thirds of the extent of the tree below the rim of the pot,
but very effective images are possible with relatively shallow pots.
4. Pots for landscapes and group plantings should always be relatively shallow and large enough
so the very little foliage extends beyond the rim of the pot. Ceramic or rock slabs are a very
good alternative and often much better.

The decisions about the width and depth of pots are much more complex.
1. For non-cascade trees, once the space and shape requirement for roots is clear, the width of
the pot is mainly dependent on the lateral extent of the tree itself, whether foliage or deadwood
and on the height of the main mass of the branches etc.
2. However, there are no hard or fast rules here: the ideal width can be much influenced by the
height of the lowest branches and the centre of mass of the foliage. The species and
configuration of the branches can also affect the best-looking pot width.

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3. Similar arguments apply to the depth.
4. Semi-cascades can look good in a whole range of pot styles, from relatively shallow and
moderately wide to quite high and narrow. Crescent pots can also be very effective for semi-
cascades.
5. The pots for full cascades are usually relatively narrow, square or round and often about as
wide as half the height, tapered towards the bottom.

Pot Colour
• For all bonsai, subdued shades of brown, grey or green are generally ‘safe’.
• brighter shades and other colours such as reds, yellows and blues are often used for flowering
trees and Mame and Shohin to good effect, but as always, there are exceptions.
• whatever the colour, the pot should never draw the eye of the viewer away from the tree: always
complement it. Sometimes a light colour blends better than a darker shade, and sometimes vice-
versa.
• browns and unglazed pots are usually used for most conifers especially Pines and Junipers.

Pot Texture
The texture of the surface of a pot can do much to enhance the overall image. Rough textures
tend to be better suited to trees with deeply fissured bark or of a rugged appearance.
Smooth matt surfaces tend to be suitable for any tree, while highly glazed surfaces can be good for
flowering trees or very small ones.

Surface treatment
Must always be weed free, it must serve to present the tree to its best advantage; surface material
should be of a fine nature to accentuate rather than detract. The purpose of the surface is to mimic
the landscape and so attention to detail should be paramount. Moss if used must be healthy and of
good colour.
• level of the tree in the bonsai pot – soil to tree transition
• stability of tree in pot & pot on display
• soil should be uniform
• tree not over or under watered

General condition/health of bonsai tree

• Good leaf colour
• even the density of foliage if in leaf
• good vigour
• no damage to the structural form –no broken branches or stems or missing sections, no wire
scars, no unsightly bark/pruning wounds
• no damage to foliage – no split leaves, damaged leaves, wilting, or signs of ageing
• healthy appearance for tree species
• good density of buds if winter image

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Maturity
• The actual age of the tree if authenticated
• bonsai tree image/impression is correct for the age presented
• old age is beautiful and the tree should capture the character of a tree growing in nature
• stem diameter in proportion to the height of the tree & spread of the crown
• signs of ageing present for species– bark fissures, thick trunk, well-developed crown,
• high level of ramification
• young trees have ascending branches. The branches near and in the apex can be horizontal or
ascend since this is the young part of the tree

Freedom from pests & diseases

Ensuring your bonsai tree is free from the following:
• Scale insect
• mealy bug
• fungal infections
• rusts
• red spider mite
• mites
• vine weevil
• other pests, diseases, viruses or fungal infections
NB: Bonsai trees should be free from all pests and diseases and checked prior to entry into a show
or exhibition. Bonsai trees with any pest or disease could be marked down or disqualified from the
event if noticed at the time.

Style
• Bonsai are classified by size, number of trunks, number of trees in a pot, and the shape of the
trunk (such as upright, cascade, or windswept).
• does the style specified on the entry tag match the style of the tree?

Formal upright (Chokkan)

• The apex should be over the base
• as a tree ascents the curves should be closer together

Root over rock (Sekijoju)

• Exposed roots show clearly over the rock
• occlusion visible and consistent between roots and rock face
• no crossing roots are visible
• appropriate root taper

Cascades (Kengai)
• Branches for cascades generally follow the rules for uprights, except that the trunk moves down

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Twin trunks / split trunks
• Should divide at the base, not higher up
• in twin trees, there should not be branches between the trees which would cross the trunks. The
outside branches of both trees create the triangle of foliage

Windswept
• Naturalness of image

The informal upright style (Moyogi )

Slant-style (Shakan)
Semi cascade
Driftwood
Raft-style (Netsuranari)
The literati style (Bunjin-gi)
The group or forest style (Yose Ue)
The broom style (Hokidachi)
The multi-trunk style (Ikadabuki)
The Shari style (Sharimiki)
Growing-in-a-rock (Ishizuke)

Flowering/fruiting bonsai trees

• Aesthetically pleasing to the eye
• fruits firm / Flowers should be fresh
• good colour of fruit/flower
• the density of flowers or fruits even throughout the bonsai tree & does not overwhelm the exhibit
in size or quantity
• no. of flowers open should be in proportion to the size of the exhibit

Deadwood
Not all bonsai trees have deadwood or need deadwood as part of their design. However,
sometimes deadwood offers a solution to a design problem:
• a tree may have good lower branches but then above them is a section of long, straight
unfeatured trunk – this section could be cut through and carved as if the tree had been struck by
lightning;
• a branch high up the tree may be the only feature on that side so can’t be removed but is much
too thick for that height – removing some or all of the bark and some of the heartwood can bring
the design back into balance;
• where a large branch has been removed and the scar may look unsightly an area of deadwood
on the trunk may be more interesting and enhance the overall image.

Deadwood need not just be a solution; it can add a lot of interest and improve the shape, weight
and movement of the trunk.

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Different types of deadwood are appropriate to different species and as a general rule young or
softwood will rot.

Types of Deadwood
Jin - Dead branch, or dead top of the tree.
Jin is used to provide an interesting feature where a branch has been cut off, or to create an apex
after a tree has been shortened as if struck by lightning. It is usually used on conifers.
When creating a jin, the branch should be carved and/or shaped with heat to make a shape that
imitates an old dead branch

Shari – bark-less part of trunk

Dead area on the trunk of the tree. Shari is used to add an interesting feature to the trunk usually in
a ribbon following a sap line. (Warning: Trees have been lost by carving an interesting shape
which cuts across the sap lines and effectively ring barks the tree!) Useful to disguise where a
large branch has been cut off and the resulting scar would be ugly and very slow to callus. Shari
should not go below the soil line as this can cause the wood to rot.

Sabamiki - split trunk or hollow trunk

A tree with sabamiki has had a portion of its trunk hollowed out simulating severe trunk damage
from lightning, disease or infestation. It can be dramatic and make the tree appear very old.
Sabamiki can be used on both deciduous trees and conifers. Intricate carving inside the “hollow”
so that different views are revealed from different angles looks more interesting than a simple large
void.

Sharimiki - weathered trunk showing large areas of deadwood (driftwood style)

This style is mostly seen on junipers, pines and yews where the trunk is mostly dead wood with
just one or two live veins connecting to the remaining branches. This style can be very dramatic.

Tanuki – fusion of driftwood and living tree

In Japanese folklore tanuki (meaning racoon dog) is a trickster and shapeshifter. This style is not
formally recognized in Japan. The technique involves joining a living tree to an interesting piece of
driftwood. The result appears to be Sharimiki but the raw material is easier to come by. It also
allows a softwood species to be used which would tend to rot and be unsuitable for the driftwood
style.

Uro - hole or hollow

In deciduous species a jin would tend to rot and fall off. Creating an irregular shaped wound in the
trunk is an alternative to a slow healing wound and potentially ugly scar.

Maintenance
All deadwood features should be treated with lime sulfur once or twice a year to prevent decay.
The deadwood should be kept clean and free of moss, which will hold moisture and contribute to
rotting.

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Origin and difficulty of cultivation
Consideration of the bonsai tree:
• require higher temperature cultivation tree species
• require greater care in watering
• are difficult to grow under ‘normal conditions
• bonsai cultivated by air layering, grafting alternative rootstock or fused form if authenticated
• bonsai were grown from seed if authenticated
• are Yamadori (collected from the wild)
• are grown from the start by the exhibitor

Rarity
The relative rarity of the tree species.

Bonsai stand / Tokanoma

• Appropriate stand for the size of tree and pot
• suitable colour
• stand made from a suitable material
• complimentary ornament/accent
• scroll if used suitable to design
• the overall impact of Tokanoma

Overall form
• Bonsai tree of correct form for tree species (naturalness)
• bonsai tree of the correct size for class
• scale appropriate (Height of tree 6x diameter of the trunk)
• only one apex

Overall presentation
The overall presentation of the exhibit will generally account for the higher percentage of judging
marks. Points to consider, does it present harmony to the eye perhaps as a mature tree in its
natural state in the wild, consider the positive aspects of the presentation and worry less about the
demerits unless they far exceed the merits of the tree. Major factors to consider are, health, vigour,
the tree/pot combination, and the stand if so presented. Does the overall presentation produce a
picture of harmony that works well and pleases the viewer with a living work of art?
• refinement of presentation
• absence of weeds and algae on the compost surface
• absence of inappropriate flower remains or leaf debris
• appropriate top dressing i.e. use of moss
• foliage is clean and free from residues
• labelling of bonsai tree correct species
• the overall image presented (aesthetics)
• any wiring or guys should be unobtrusive

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• presents with harmony
• tree/pot combination complimentary
• balanced display showing naturalness
• all elements work
• tree and accents healthy
• shows thought and consideration and refinement of the presentation
• no distracting or detracting features present
• the originality of overall composition including artistic impression and architectural composition

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