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Basic Principles of Landscape Design

Dewayne L. Ingram2
Landscaping combines elements of art and science to create a functional, aesthetically pleasing extension of indoor living to the outdoors. One initial purpose of landscape design is to blend mans technology (house or building) into the natural surroundings. To work toward a desirable landscape design, the landscape horticulturist must have a working knowledge of art elements and design principles. This publication is intended for the commercial landscaper with little or no training in the use of these basic principles. This publication is not a complete landscape design text.

ELEMENTS OF ART
Elements of art include but are not limited to color, line, form, texture and scale. These elements are never independent of each other, but we will discuss their individual natures before considering the interactions.
Color variation can best be explained by use of a color wheel ( Figure 1 ). Primary colors are red, blue and yellow. Orange, green and violet are called secondary colors because they are combinations of two primary colors. For example, yellow and red are combined to yield orange. Tertiary colors are the fusion of one primary and one secondary color. These colors would be between primary and secondary colors.














Figure 1

Tint refers to a light value and is accomplished by adding white to the pure color on the color wheel, while shade is a dark value and is created by adding black to the pure color on the color wheel. Black, white and grey are neutrals and are compatible with any color. Light colors and tints tend to attract attention as do bright, vivid colors.
Colors are combined into color schemes for practical applications. Three basic color schemes are monochromatic, analogous and complementary. A monochromatic color scheme consists of different tints and shades of one color and is seldom achieved in its pure form in the landscape. An example of an incomplete monochromatic color scheme would include white and pink flowers with a background of a dark pink and red brick house.

Analogous color schemes combine colors which are adjacent or side-by-side on the color wheel. An analogous color scheme could include green, blue-green, green-blue, blue and violet blue. This color scheme could be achieved by varying the foliage color from green to blue-green or by using pyracantha with orange-red berries against a red brick house.

Complementary color schemes combine colors directly across the color wheel. For example, red and green would be complementary colors. A complementary color scheme may be achieved by using plants with green foliage against a red brick house.

It is possible to have varying color schemes in one area of the landscape as the seasons change. White and pink azaleas flowers can yield a monochromatic color scheme with a red brick house. The green azalea foliage would produce a complementary color for the red brick during the summer. Pyracantha berries would be an analogous color to the red brick in the fall. The landscape designer should consider the color changes throughout the year when developing a landscape plan.

Colors can be used to visually change distance perspective. Warm colors and light tints like red, orange, yellow and white advance an object or area toward the observer. These colors and tints placed near the foundation of a house would make the house appear closer to the street. Cool colors and deep shades like blue, green and black recede and can be used to make the house appear farther from the street. Cool colors are restful while warm colors express action and are best used in filtered light or against a green or dark background.

Color can be used to direct attention in the landscape. Due to this strong characteristic, color should be used carefully. When color is used for this purpose, consideration must be given to year-round color not just to seasonal color. Consideration may also be given to the time of day when this color will be enjoyed. White or light tints could be used to create interest on a patio. Dark colors would add little to family enjoyment of this area as the daylight hours passed.

Line is related to eye movement or flow. The concept and creation of line depends upon the purpose of the design and existing patterns. In the overall landscape, line is inferred by bed arrangement and the way these beds fit or flow together ( Figure 2 ). Line is also created vertically by changes in plant height and the height of tree and shrub canopies. Line in a small area such as an entrance or privacy garden is created by branching habits of plants, arrangement of leaves and/or sequence of plant materials.














Figure 2

Straight lines tend to be forceful, structural and stable and direct the observers eye to a point faster than curved lines. Curved or free-flowing lines are sometimes described as smooth, graceful or gentle and create a relaxing, progressive, moving and natural feeling.

Form and line are closely related. Line is considered usually in terms of the outline or edge of objects, whereas form is more encompassing. The concept of form is related also to the size of an object or area. Form can be discussed in terms of individual plant growth habits or as the planting arrangement in a landscape.

Plant forms include upright, oval, columnar, spreading, broad spreading, weeping, etc. ( Figure 3 ). Form is basically the shape and structure of a plant or mass of plants. Structures also have form and should be considered as such when designing the area around them.














Figure 3

Texture describes the surface quality of an object than can be seen or felt. Surfaces in the landscape includes buildings, walks, patios, groundcovers and plants. The texture of plants differs as the relationships between the leaves, twigs and branches differ ( Figure 4 ). Coarse, medium or fine could be used to describe texture but so could smooth, rough, glossy or dull.














Figure 4

Scale refers to the size of an object or objects in relation to the surroundings. Size refers to definite measurements while scale describes the size relationship between adjacent objects. The size of plantings and buildings compared on the human scale must be considered ( Figure 5 ).














Figure 5