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Updated: October 9, 2005
by Bill Cody
During the lecture/demonstration delivered by Warren Hill this month, he discussed in some detail the problem of leaf burn in Japanese maples. Apparently in California, there is significant problem with an excess of sodium in the irrigation water. Naturally this excess of sodium eventually finds its way to the leaves. On hot, dry, and windy days, transpiration (evaporation) of water is more rapid from the narrow lobes of the leaves than from the broad interior of the leaf. As water leaves the leaf, the concentration of sodium ions in the lobes rises to the point that the cellular structure of the leaf is damaged, resulting in the characteristic browning and curling of the leaf tip.
I'm not sure that Warren has hit upon the real culprit here in Central Texas. My own water has a normal amount of sodium (less than 50 ppm). Normally my magnesium is quite low (8 ppm; normal = 30-50 ppm) and my calcium is okay (44 ppm; normal = 40-75 ppm) but the Ca/Mg ratio, which should be about 2:1, is 5:1. I add Epsom salts by way of my injector to maintain the 2:1 ratio.
Since you will not know what, if any, your water problems are without testing, I am including the address of the TAMU laboratory. My experience has been that the director of this lab has been less than readily available to answer questions about soil/water test results. A PDF sample submittal form may be downloaded at: http://soilcrop.tamu.edu/soiltest/waterweb1.pdf. Your county extension service agent may have forms. URLs for the other labs are included below for your further search for specific lab sampling instructions and mailers.
Texas Agricultural Extension Service Soil and Water Testing Laboratory Texas A & M University College Station, TX 77843 See below. Cost: $20.00 for routine test.
J. R. Peters Laboratory 6656 Grant Way Allentown, PA 18106 1-800-743-4769 Cost: $36.00 each sample. http://www.jrpeterslab.com/faq.html info@jrpeterslab.com
Servi-Tech Laboratory 1816 E. Wyatt Earp Dodge City, Kansas 67801 1-800-557-7509 620-227-7123 Cost: $46.20 per sample http://www.servi-techinc.com/services/labs/waterfees.pdf
General instructions for collecting a water sample are below, but check with your lab first:
Usually, the labs will send containers, instructions, and questionnaires, which you enclose with each sample, if you call and ask for them. The prices listed above are as 2/24/03, but it is best to call first.
by
Jack E. Billet
This type of tree is more of a feeling than a style. Most of the other styles, or even no style at all, can be used for Bunjin. It often deviates from the accepted guidelines. It must, however, have a sense of bonsai correctness and nature’s logic. It must also have a feeling of elegance and simplicity.
Reprinted with author’s permission
No style of gardening has generated so much fascinated attention in America as the Japanese, yet to create a truly authentic Japanese garden here is very difficult.
The Japanese garden is an statement of a culture and a landscape far different from ours. It “encompasses all of Nature” and conveys “strong spiritual and philosophical messages”, says landscape architect Armistead Browning, Jr. in Japanese Gardens, Handbook 108 of the Brooklyn Botanic Garden.
This is one of the finest in the Garden’s distinguished handbook series. More than a few of the articles delineating the philosophy and design principles are brilliant, and the handbook is highly useful to anyone intending to adopt or adapt the Japanese style.
Knowledge, skill and great patience are needed to find and arrange the rocks which are the main feature of the Japanese garden, and to select and train the trees an shrubs. Mosses , bamboo's and other classical plants must be chosen and placed not only for their beauty but for the emotional responses they evoke. Every element in the Japanese garden has multiple meanings.
As Dr. George S. Avery said ten years ago in his Guest Special Issue on Japanese gardens (Vol. 8 No. 11) gardeners are “discovering in Japanese gardens a dimension new to us that is likely to have a deeper influence on the future of American gardens that we can now foresee”. Japanese gardens, even in the less-than-perfect forms and adaptations we can create here, can teach us a new level of appreciation of nature, and impart feelings of peacefulness, strength and enchantment.
The Avant Gardener
Reprinted from Texas Bonsai, Summer, 1986
by Cliff Chappell
While doing research for this paper, I was dismayed to fine, again and again, the “Paint-By-Numbers” mentality which seems so prevalent in bonsai. I will be the first to agree that there is an excellent reason behind every one of the things which the Japanese do when displaying bonsai. However, just because I agree with the principles, that does not mean that I agree with the implementations of these principles. The purpose of this paper is to explain some of the principles which need to be considered in the display of a work of art. The interplay of these principles will determine the degree of impact which your bonsai display has upon the viewer. Innovation, when implementing these principles, is to be encouraged. Simply reproducing a display which you have seen in a book, magazine or bonsai show is impossible, unless you are reproducing a reproduction. The display should be thought out to the same degree as the styling of the bonsai itself, and is no less important.
One of the first elements to be considered in the design of a bonsai display is the mood of the tree. The bonsai artist must examine his or her own feelings which are evoked by the tree. The tree will make its personality known by the way it grows and changes throughout the seasons. The tree’s mood must be reflected and enhanced by the manner in which it is displayed.
The background to be used in the display is composed of three elements. Color, contrast and texture. All three of these elements are closely interconnected. If you should get one, or even two of these elements correct and fail to do so with the third, the background and the foreground will compete with each other.
All bonsai, regardless of size, should be displayed on some sort of stand, even if the stand is no more than a reed mat. The stand is as important to the bonsai as a frame is to a painting. The purpose of the stand primarily is to raise the bonsai to a proper viewing height and to give the bonsai a feeling of importance. According to tradition, the stand is made of wood, unless the bonsai is to be displayed on slab of rock. If the bonsai is styled formally, then the stand should be one of a formal design. If the bonsai is informal, then the stand should be informal in design, and so on. The stand should never be smaller or of the same size as the pot. Bamboo or reed mats should be used only with smaller and medium sized, delicate bonsai or accents and never with powerful, primary trees. The apex of the bonsai should b e above the center of the stand.
Once the major components have been decided upon, the task of properly accenting the bonsai must be addressed. This can be a complicated task and is of no less importance than any other item composing the display. These accents can be plants, driftwood, carvings, viewing stones or items meant to relate to the bonsai subject. The accent should blend in with, or gently contrast, the mood of the bonsai. The purpose of the accent is subtle and should not be a literal restatement or mirror the mood of the bonsai. Sometimes you might want to utilize a viewing stone so that an impression of the tree’s distant surrounding are hinted at. Remember the mood of the tree as this will help you to determining the correct type of stone. If you are a beginner or intermediate bonsaiist, do not be afraid to show a tree which is not yet finished. No tree is ever finished, unless it is ready for the fireplace.
If your tree is not finished , then it is always as some stage of training or the other. I do not mean that you should show a tree which was in a nursery container yesterday, but if your tree has been in training six months, a year or two years, then by all means show it! You can pick out flaws in every tree. My opinion is that not enough “trees-in-training” are available for the public to view at these shows. Let’s bring it down to earth and show what these bonsai look like at every stage of development.
Reprinted in part from Texas Bonsai, Summer, 1992
By Butch Wilken
The obvious reason we prune our bonsai trees is to shape them into the style we want. Pruning affects the growth of the tree. Pruning wounds a tree and the tree puts on repair growth to seal off and heal the wound. The type of repair growth we stimulate is determined by numerous factors. The three we can control the most are: (1) the time of year we prune, (2) the amount of tree structure we remove, and (3) what part of the tree we prune. For pruning to have the effect we want on the tree, these three factors must always be considered. As with everything we do to our trees, pruning should be done on healthy trees. Old, weak trees and branches should not be pruned.
To know when to prune to achieve the effect on the tree we desire, we must understand the growth cycle of trees. Every tree goes through this yearly cycle--evergreen, deciduous, and tropical. Deciduous trees are the easiest to understand because the stages of the growth cycle are most obvious. It is easy to tell when they are approaching dormancy because the leaves change color and begin to fall off the tree. Dormancy is obvious when the tree has no leaves and the new buds haven’t swollen yet. The beginning of a new growth cycle is obvious when bud start to swell and open into new leaves. The vigorous growth of summer tells us the tree is in the very active part of the cycle.
As trees go through this cycle, they produce and store nutrients when growth is active. They then survive on these stored nutrients when their leaves are lost and photosynthesis isn’t occurring. These reserves are primarily stored in the trunk and roots. When lengthening days and increased temperatures signals the approaching spring, the stored nutrients begin to move out of the roots and trunk and into the developing leaf buds. This depletes the amount of stored nutrients available. If you pinch back at this time, the tree’s response to this injury will result in slower and smaller new growth. The amount of energy left after the initial big spring push is lower and the growth response to this pinching in jury has less stored energy to use. The new leaves haven’t matured fully yet and their photosynthesis hasn’t reached full potential.
Pinching is a mild form of pruning. More severe pruning during the active spring growth period should be minimized due to the high flow of sap. Large cuts will “bleed” sap, and this moisture loss can be harmful to the health and vigor of the tree. Any large cuts that must be made should be sealed promptly to prevent this moisture loss. With all the new growth evident, winter die back is easy to identify and can be removed at this time.
Summer pruning can be divided into early and late summer periods. Early summer pruning benefits from the increased sap flow. This helps wounds heal more rapidly. By late summer, sap flow is diminishing, and any pruning at this time will result in new growth being smaller. It does deplete some of the nutrient reserves being stored for the coming winter. If the coming winter is unusually harsh, there may not be enough stored for the spring reawakening. Pruning too late in the summer may not allow the new growth sufficient time to harden off and mature before winter arrives. All the hoped for benefits from this pruning may be lost if the immature, new growth dies over the winter. It is best to prune only that which is absolutely necessary at this time of year.
Fall is the time trees are trying to store up necessary nutrients for winter survival and spring recovery. Since the leaves are the major producers of these nutrients through photosynthesis, we must try and keep the leaves on the tree during the fall. No leaf pruning, The food storage in the roots, trunk, and branches causes them to thicken. It is best to remove all wires during this time to prevent them from cutting in and scaring the tree. Since we don’t know how severe the coming winter will be, we don’t know how much die back will occur. Therefore, it is best to minimize pruning in the fall.
During the early winter dormant period, the tree’s ability to heal any pruning wounds is greatly diminished. Pruning should be avoided to prevent excessive die back. In late winter, the tree is getting ready to send the stored nutrients back to the branches and buds. Since these reserves haven’t moved out of storage yet, severe pruning will not diminish these reserves. The tree will respond in the spring with vigorous growth because there are now fewer buds and growth points remaining to be fed by the same amount of stored nutrients.
Editor’s note: Butch Wilken is also a member of our club. This was published in the January, 2002 issue of the Houston Bonsai Society’s newsletter and is the first of two installments.
By Butch Wilken
Part 2 of 2
Pruning can be divided into mild, moderate, and severe. Mild pruning would include leaf pruning and bud pinching. Moderate pruning would include refinement pruning, selective, and structural pruning. Severe pruning would involve regeneration pruning.
Leaf pruning and bud pinching refines the growth of the tree, producing smaller leaves, shorter internodes, and twiggier, finer branches.
Moderate pruning is the selective removal of some branches that don’t add to the refinement or structural design of the tree.
After years of leaf pruning, bud pinching, and refinement pruning, bonsai often lose their shape and character. They often become too coarse and unrefined with branches out of scale to the tree size. Regeneration pruning is needed to basically start branch development all over. On trees that bud back readily, all branches can be removed in late winter just before buds begin to swell and to open. The resultant vigorous growth begins the new branch development.
The part of the tree pruned affects the tree response because growth regulators or hormones are present in trees. Young trees are trying to gain size rapidly and grow long, widely spaced branches with long internodes. This type of growth is referred to as apical growth and is stimulated by the growth hormone auxin. Apical refers to the top or apex of the tree and the ends of branches. Another group of growth regulators, cytokinins, do the opposite. They stimulate side branching and back budding with slower growth. Auxin is the dominant growth regulator. Therefore, if you want to promote more compact finer branching, shorter internodes, and smaller leaves, the effects of auxin must be reduced to allow cytokinins to express themselves. You accomplish this by pruning the areas where auxin is in the highest concentration---the apex and branch tips. This allows cytokinins to dominate until the new growth restores the auxin concentrations in the apex and branch tips. The overall growth of the tree is slowed down, but the growth is redistributed away from the apex and branch tips. This renews the vigor of the tree. The tree has the same volume of nutrient supply, but now has many more buds, branchlets, and growth points to nourish. Thus, smaller branches and leaves.
Evergreen trees and tropicals don’t lose all their leaves at one time like deciduous trees. They do partially replace their needles and leaves during the growth cycle. They have different levels of dormancy than we see on deciduous trees. One sees a change in needle color in pines and junipers when they go into their dormancy. Tropicals' growth rate varies during the growth cycle, but they don’t usually lose all their leaves at one time. They partially shed them at different times during the growth cycle. The same timing principles can be applied to these groups of trees during their growth cycles.
Pieter Loubser, Understanding Bonsai, 1993, Delta Publishing;
John Yoshio Naka, Bonsai Techniques 1, 1973, Dennis Landman Publishing;
Deborah Koreshoff, Bonsai, Its Art, Science, History, & Philosophy, 1984, Macmillan.
Editor’s Note: This article was published in the February, 2002 issue of the Houston Bonsai Society’s newsletter and the first part was in our March newsletter. Also, the 2nd & 3rd books in the bibliography are in our library.
by
Lola Curtis
I believer the term art tends to spook most “non-artists”. Art is often associated with the eccentric or the wealthy. Actually, if you think about it, we all start out as artists. Have you ever met a child that was totally uninterested in coloring, painting, working with Play-doh, etc. ?I haven’t. Unfortunately, most of us give up art and finger paint at about the same time. We cease to make it an everyday part of our lives and it becomes unfamiliar.
As we become less cozy with art we tend to venerate “artist” and deny our own innate artistic sense. As we are reminded, bonsai IS an art. So how can we rekindle OURSELVES as artists?One way is by spending time with art, become familiar with it again.
All the visual arts (including bonsai) use proportion, balance, unity and harmony. The more you see these in any art, the more you will recognize them in the other arts. Can this help you design bonsai? You better believe it.
I was attempting to design my first pine, doing a namby-pamby job, and was told to “draw what I saw in the tree”. I did. It clarified by thinking and gave me a goal. I had used one visual art to fine tune another.
I believe that looking at sketches, paintings and sculpture, in addition to other people’s bonsai will help the artistic YOU!
Excerpted from Texas Bonsai, Summer 1992
Editor’s Note: Keep this in mind and take the sketching workshop offered at the State Convention in November offered by our own Donna Dobberfuhl.
by Marty Klajnowski
Practice psychology on both yourself and your bonsai trees. When you enter your bonsai area, the sight should be a delight to the senses. If you see well-groomed plants grown to perfection, you are more inclined to take good care of them. If you see a mess, it is easy to become discouraged and negative.
Everyone of us is a goodwill ambassador for bonsai trees and each visitor is a potential convert. Show them clean foliage free of pests, fresh blossoms, clean containers and well trained trees in some semblance of order and you will hear gasps of amazement. Show them untidy branches, a hodge-podge of cuttings, stragglies and growing paraphernalia and the bonsai trees will take a step backward.
Talk to your plants; you don't have to admit that you do. There will always be the non-believers who will think you are a candidate for the funny farm. Do I personally think plants respond to verbal communication? Of course, I do. Some plants are like some people, with the right direction, they give an outstanding performance. But you do have to admire them, applaud them, tell them they are beautiful and that they can do better if they try.
You will also need to talk ABOUT your plants. There is a definite psychological advantage in belonging to a bonsai society/group. Just try to talk about your trees with a non-grower. Their eyes will glaze over and roll back in their head. We are surrounded by infidels and so we seek relief by joining horticultural friends in bonsai societies. There, we can find a room full of people who understand essentially how we feel when we get ecstatic over a new specimen or style.
Keep your bonsai trees "psyched up" and you will have taken the first step toward growing healthy, lovely trees to be enjoyed and shown. Add yours to those on exhibit in local club and LSBF shows for the other club members and the public to view.
Reprinted from Texas Bonsai, Summer 1991
Wiring is generally part of the bonsai styling process. Here are some frequently asked questions.
What is the actual purpose of wire on a bonsai?
Wire is used to bend and shape trunks and branches into desired positions. Wire alters the original shape of a plant and by so doing creates the appearance of a small tree.
How long should the wire stay on?
Wire is NOT permanent. It is a temporary measure, much like braces on a child's teeth. When the branch (or trunk) holds the shape, the wire is removed The length of time this takes will depend on many factors. What kind of tree is it? How fast does it grow? Is it the growing season? Zone you are in? Wire left on a bonsai will disfigure it.
How can you tell if it's time to remove the wire?
Usually by the time wire has repositioned a branch, the wire is pressing into the bark. You can see it getting tight. Remove the wire at this time, before it cuts in. If the branch returns to its original position, re-wire the branch and start again.
Is there some magic in copper wire?
Copper wire was used originally because the color blended with trees and it was strong enough to bend them into shapes. Today many have switched to copper colored aluminum wire. It can be reused and never needs annealing. Although aluminum is not as strong as copper, a thicker size may be used to do the same job.
Is wire necessary to create a bonsai?
No. Many people use a "clip-and-grow" method. However, it would be difficult to create a well styled bonsai without at lest some wire for refinement.
How do you determine which size wire needed?
Take the end of a length of wire and press it against the branch to be bent. If the wire bends, go to the next size. If the branch bends, that size should work.
Are there substitutes for wiring?
Branches can be tied down with string, sandwiched between wire mesh, have weights hung on them and other seemingly strange techniques. It depends on the stylist and the individual tree.
Reprinted in part from Bonsai Business, December 1995, no longer in publication.
Of course we’re all aware that many things we consume, even pure water, can be toxic when consumed in large enough quantities. We are not going to speak on the health aspects of consuming the small amounts of chlorine salts in our drinking water.
On the other hand, plant cytologists now recognize nine major nutrient elements and eight micronutrients as being necessary for the growth and maturation of all plants. In addition, there are six other minor nutrients that are essential for some plants but apparently aren’t necessary for others.
Of the eight essential micronutrients, the only one needed in greater quantities that chlorine is iron. Boron, cobalt, copper, manganese, molybdenum and zinc are all used in lesser quantities by most plants.
Interestingly enough, the chief source of soilborne chlorine is the salt dust picked up from ocean beaches and carried in the atmosphere until precipitated with rain and snow. An average of about 1/2 pound is dumped on your garden in this manner. That, plus what is added with any mineral fertilizers and city water, provides adequate chlorine for your plants.
Of course, outdoor container plants must depend on city water for most of their chlorine and indoor plants are entirely dependent on this source. So anyone who thinks they’re helping their container plants by eliminating city water and using only filtered or bottled water is sadly mistaken. They’re simply wasting time and money while depriving their plant of this important element.
Editor’s note: As bonsai are container plants, this seemed quite relevant. This was taken, in part, from the Austin Gardener by the Men’s Garden Club of Austin and The Green Thumb, June 1998
by
Mildred Dil
Browsing thru back issues of the New Orleans Bonsai, under “Quick Snips” is an article on junipers. A member of GNOBS had pinched back his junipers following a particularly heavy lush growth of early Spring. Instead of the remaining foliage recovering with a good growth of new foliage, a very few new shoots were produced and the older growth failed to sprout again, and there was an alarming die-off of branches. The die-back was so severe that, in some instances, it amounted to the loss of a year’s growth. Studying the cause, and many other members of GNOBS shared the problem, the very wet Spring and lack of shade were two things discussed. These are not usual conditions, so when a visiting lecturer came for workshops, the problem was discussed with him. The feeding problem was immediately questioned - in review, an ambitious feeding program was brought to light: blood and cottonseed meals in cake, fish emulsion in quantity, Osmocote 18-18-19 and, in some cases, chemical liquid fertilizer. The guest speaker immediately identified the problem: too much nitrogen. Blood meal was eliminated from the cake feeding, with less cottonseed and bonemeal used; fish emulsion and Osmocote were eliminated for high heat season.
Reprinted from October, 1986 Bonsai Notebook, Austin
by Ted Guyge
Texas summers are long, hot and usually dry. This is a combination that is extremely hard on most bonsai. By careful experimentation on summer care, I have come up with a procedure that seems to minimize the problem of high temperature and low humidity.
My bonsai stay in several different situations. Some stay in full sun all the time; some are partially shaded during the day by nearby trees; others are under lath shelter in open shelves and some others are in a shade house protected on the west and north by reed fencing with shade cloth over the top.
Junipers, many large plants, and plants in early stages of training benefit by being in the full sun as this helps to retard their growth. Junipers particularly benefit since they have a tendency to grow wild under more comfortable conditions. Some of the plants in this group do receive some shade parts of the day from nearby trees.
Deciduous trees, trees that are sensitive to hot sun and small trees that would dry out too much, maintain their color better and stay in better health under the lath shelter. Ground cover plants (other than mosses) do well under the lath.
My smaller trees (including mame) and sun tender trees do well in the shade house. The trees are on tiered shelves on concrete blocks. The ground under these benches is always wet and maintains a high humidity around the trees. Moss does very well on trees here....in fact I have to use care that some trees do not stay too wet. Even my mame which are sitting on a tray of wet Turface rarely need watering more than once a day. I have several desert type trees in my collection and I have found that these do best under these conditions also. In the winter, the shade cloth is removed and the house is covered with plastic to provide necessary winter protection for my more tender plants.
Watering is the most important factor in care of bonsai. Lack of water kills
more bonsai than any other thing. I do not made a fetish of watering, however.
I water (with a few exceptions) once a day, usually around five o’clock
regardless of the sun. The exceptions occur in extremely hot, dry weather when
a few trees have a tendency to wilt. I water these twice a day at that time
and also spray the foliage on all my trees. My regular watering also includes
washing the foliage on all of the trees. When I water, I do not always water
every tree every day. By observing the soil I can tell whether the particular
tree needs water or not. If I do not think it
needs it, I do not water it that particular day. Junipers are allowed to dry
completely if possible, between waterings. Too much water forces too much growth.
Overwatering should be avoided on all tree for this reason. By knowing my
trees I know how much water should be applied to each tree to insure adequate
watering.
I fertilize my trees every month during growing season EXCEPT July and August. Many trees will burn if they are fertilized at this time since fertilizing forces tender new growth.
Insects are very active during this time of the year, but I have learned that spraying must be done at a time when the sun will not be on the leaves wet width insecticide. This means that the spraying must be done in the evening with the humidity low enough to be sure the leaves are dry before the sun gets on them the next morning. (There may be emergency situations when leaf damage would be secondary in which case I would spray immediately.)
The guidelines that I follow in summer car can be summed up as follows:
These procedures are used with a collection of over one hundred fifty
trees......many of them extremely
large. Even in the hottest weather they can be cared for with a minimum time
of twenty minutes for watering. Other procedures can be postponed but not watering.
Reprinted from Texas Bonsai, Fall, 1987
by
Vito Megna
It is not surprising that, today people all over the world share the same enthusiasm and love of beautiful stone landscapes. Suiseki clubs are springing up in all parts of the globe, in fact Butch Wilkin just recently suggested that Texas needs such a program to bolster our common interest in bonsai. When children visit my nursery with their parents, they often are found digging in the stones that I use to cover the area. I furnish them with a plastic bag to take some stones home; I know my granddaughter must have about 50 lbs. stored around her house much to the dismay of my daughter, so, I have to keep reminding her about her love for stone collecting, some of which I still have in the garage.
My program will be to highlight the fabrication of a dai, there may be some wood chips flying around and it might be a little noisy, but I promise it will be interesting and fun, so please join us. If you have a suiseki that you would like to display for the members to view please do so.
Your first peek at a bonsai tool catalogue can be absolutely frightening! The truth of the matter is, there are very few tools required to do bonsai. As in any hobby or art form “needs” can stretch as far as the purse strings. In a beginner class, it might be suggested a minimum of three tools:
Many beginners are a little more anxious and want a tool set. A good five piece set consists of:
When on a limited budget, the one tool, above all others, is the 8” concave cutter. This tool is difficult if not impossible to substitute, and is recommended by every bonsai instructor. (Although the 6” concave cutter is less expensive, it is frequently too small to do the job and is often misused.)
Bonsai tools have been created especially for bonsai by bonsai people. Each tool has a specific purpose, although many are duplicated and only differ in style and size.
Taken in part from Bonsai Business, June, 1996. A publication no longer in print.
by Thomas Powell
Do plants think - reason - feel? Some thirty years ago, research in India, Canada and the United States showed that music had beneficial effects on plant germination, growth and health. From corn to bananas to petunias, various instruments and the human voice produced improved growth. Even sound percussion transmitted through the earth worked: in India, performing the “Sharat Natyam dance without trinkets on ankles” made marigolds grow 60% taller and bloom fourteen days earlier. All sorts of sound waves, scientists believe, have a resonating effect on the “naturally irritable” protoplasm of plant cells, affecting their metabolism so they synthesize more food.
Now the first complete decoding of the genetic makeup of a plant is showing how plants react to all kinds of stimuli. Using a very fast growing and multiplying weed of the mustard family, Arabidopsis thaliana, cooperating researchers in may countries decoded the genome of this plant. This has given them a “Rosetta Stone” to greatly speed decoding of all plants.
Many genes which control hormone receptors in plants have been identified. These are the means by which plants sense and react to even minute alterations in their environment. Through them a plant can “see” changes in the amount or quality of light, or “feel” wind, fluctuations in temperature, or insect bites, or “hear” thunder or the bussing of a bee. Plants thus have complex and often very efficient mechanisms for dealing with physical and chemical stimuli.
This is not to suggest that there is an emotional component - plants do not like or dislike anything, or feel pain, pleasure or anger. Emotion and reasoning seem to be qualities reserved for the animal kingdom. The human mind is governed by more than a purely reactive survival instinct.
On the other hand, there is something called vitalist philosophy, which postulates that everything in nature is guided not solely by mechanical forces but also by a need to achieve certain goals of self-realization. Do plants “want” to grow their best?
Reprinted from The Avant Gardener, Vol. 33, No. 5, March 2001, pp. 37-38
Editor’s note: Maybe there is something to the idea from one of our members to play some light jazz for our bonsai trees to keep them fit and well. Maybe some of you “scoffed” too soon.
by
Yvonne Padilla
In the world of Bonsai the Banyan tree is widely used as an excellent choice for Bonsai. The Ficus species is a member of the banyan family and there are around 600 varieties of Ficus. Planted in the ground in warm climates, these trees can take over and strangle every thing in their path. Referring to the “Guiness Book of Records 1991” is the great Ficus benghalensis located in the Indian Botanical Garden in Calcutta. This tree boasts 1,775 supporting aerial roots, a circumference of 1,330 feet, covers three acres and dates back to 1787. Well, we won’t try to find a container to fit a tree that size. Since there are so many varieties to choose from, a collections of several is possible. Ficus are easy to grow in this area and I highly recommend them for the novice.
Most Ficus develop aerial roots. For the roots to develop, they need a nice warm climate and lots of humidity. You may choose to keep the roots or cut them off. When the trees get to a more mature stage, they usually develop figs. The tiny figs vary in color from green when they first appear, to dark brick red with light green spots as they mature. Since there are so many varieties, there are many different leaf shapes making the trees more interesting.
The Ficus is suited for many different styles of Bonsai: broom, informal and formal upright, root over rock, forest, saikei and others. They are tropical, but a very tough species.
Reprinted from Corpus Christi Bonsai Club Newsletter, March, 2001
Experiments conducted in Brazil have shown that a solution of fresh cow’s milk in water can be as effective as conventional fungicides for controlling powdery mildew on greenhouse grown plants. In most cases, solutions of ten percent or more milk applied twice weekly performed at least as well as benomyl or fenarimol fungicides applied once a week. This should please growers looking for alternatives to synthetics - you’d be hard pressed to find a more “organic” fungicide than milk! (Note: Sprays containing thirty percent or more milk caused an innocuous mold to grow on the leaves.)
As for why fresh cow’s milk has fungicidal properties, researcher Wagner Bettiol points out that milk contains phosphates and potassium salts, both of which are known to help control powdery mildew. He also cites milk’s broad anti-microbial properties as a factor, saying that various constituents of milk has been shown to inhibit the growth of particular fungi, and that others may even induce systemic disease resistance in plants.
Reprinted from Bonsai News, Lake Charles Bonsai Society, September, 2000.
by
John Miller
This is one of the more delightful times to be into bonsai. The renewed leaf growth and new flowers help bring a new elation to your spirit. Bonsai brings you closer to the world of plants than other forms of horticulture. I wouldn’t want to say that the rewards are greater but they certainly are different than other ways of raising plants. So stop and enjoy before getting out there and working your tails off.
Keep up the pinching and trimming. This is the time of year you can lose your ramification and shape in a hurry if you slack off. You will not generally be doing any major pruning at this time but, if your tree has slowed its spring flush of growth, you may be able to do some work. Elms and junipers don’t bleed much but maples and pines will weep considerably at this time of year. Watch the training wires - the tree can increase in diameter really fast.
Sunlight is a very important at this time of the year. It helps keep leaf size and internode distance down and is a must for good flower color. One year I had left some pink azaleas in the shade house where they also had some shade from a large tree. They were almost white when they opened. If you have your tree in a shaded or protected location, don’t move it to full sun directly. Give it more exposure gradually to allow the leaves to harden off. Plants can sunburn just like us only they turn brown instead of red.
Fertilized on a regular schedule but use a weaker solution until growth slows. Use a balanced fertilizer on most trees. Flowering and fruiting bonsai need one higher in phosphorus. When you go to a nursery, especially ones into organics, look for products which can supply trace elements. One that I use is Green Sand but others are just as good.
Insects and fungal disease love warm damp weather. My particular bane is leaf spot on elms and yaupons. Spray with a fungal spray if you see any spots on the leaves of your tree. Several insect pests can disfigure the plant, especially during the tender growth stage. Aphids especially and also some leaf eating worms. Spider mites usually don’t get much done during the cooler weather. Diazinon and Malathion can be used at a reduced strength. I have gone to a systemic spray such as Orthene which seems to give better control over a longer period. Environmentally, long lasting sprays are not desired but since I have better control spraying bonsai and do not spray it all around, I feel I am not damaging the world.
Reprinted from Fort Worth Bonsai Society Newsletter, April, 1997
Spread the word that plants absorb toxins, such as formaldehyde and benzene, and may be the answer to solving sick-building syndrome.
If humans move into closed environments, they must take along plants, nature’s life-support system. It is important to have living plants in our homes and work environments. Plants absorb toxins and produce oxygen. The ficus is a listed variety that helps clean air in closed environments. It is a hardy choice and will do well under less-than-perfect surroundings.
by
Jeff Holmes
Haiku poets view small and large things in the world throughout the entire year, but winter is special. In general it is a time of peace and tranquility. Northern areas are covered in layers of snow that mute sounds and give a surreal quality to many normal surroundings such as buildings and trees. Southern areas experience cooler temperatures and more precipitation. Most plants go dormant, awaiting the coming of spring and a new year; a new period of growth and vitality.
In the western world, fall events predict the changes to come. The first signs of cooling temperature are usually in October when bonsai artists must begin making plans to winter-over tender trees.
Children at the door
dressed in costumes and laughter -
‘Trick or Treating’ me
Fall brings cooler air
Perhaps some rain - maybe none
But the sun still shines
The weather is changing. We look for signs to tell us how cold or how long this winter season will be so we know how much to protect our trees. Some weather signals are obvious, while others require more subtle observation.
Dawn coming early
with nightfall further away -
daylight savings time
New born, sky-borne clouds
whispering weather changes
but who will listen
Toad by my driveway
preparing to hibernate
for our short winter
As the weather gets colder we move our tropicals inside or put them in the greenhouse. We remove unnecessary wire and check to make sure what remains isn’t too tight. Hardier trees we leave out to enjoy the coolness with us. Some we place on the ground and protect the roots and pot with warming mulch.
The nighttime silence
of a fireplace burning wood
returns my childhood
Strong winds force the branch
to bend or break, giving in -
bamboo leaves just wave
During the winter we stay indoors and practice our haiku and sumi-e. On milder days we can go out looking for suiseki and bonsai to collect, or just enjoy nature.
No one notices
a buried stone’s character
until it/s unearthed
Looking for new stones
recent creations
from centuries past
Before we even realize it, winter is over. Anticipation of spring, the new
vigor of our trees, and all our preparations for trimming, repotting, styling
and watching them grow begin anew. In our minds spring begins another new year.
Small boys are yelling
at one another - and me
I’m now in the game
Cloud shadows ahead
softening the dolor green
where things are growing
Sunbeams through the clouds -
someone’s cautious prayers, or
just sunlight at rest
Reprinted from San Antonio’s Snips ‘n Clips, December, 2000
In Japan, they have replaced the impersonal and unhelpful Microsoft error messages with Haiku poetry messages. Haiku poetry has strict construction rules - each poem has only 17 syllables; 5 syllables in the first, 7 in the second, 5 in the third. They are used to communicate a pithy, timeless message, often achieving a wistful, yearning and powerful insight through extreme brevity.
The essence of zen:
Your file was so big.
It might be very useful.
But now it is gone.
by
Libby Pulley
(with permission)
Latin name: juniperus ashei
AKA: mountain cedar, cedar brake, Texas cedar, sabino, enebro, tascate, taxate,
post cedar, cedro, blue-berry juniper, rock cedar, Ozark white cedar
We call them cedar trees, but actually these evergreens are classified as junipers, members of the cypress family and the division coniferophyta (cone bearing plants). The species name, ashei, is in honor of the American botanist William Willard Ashe (1872-19032). Ashe junipers are the most common trees in the Austin area, flourishing especially in the limestone soil and full sun of the hill country.
All parts of the cedar tree are used by man and other animals. Extracted cedarleaf oil is appreciated for its clean smell and used in a variety of household and other products. Tree resin contains up to 75% camphor (think Vicks VapoRub) and is used medicinally. Birds and mammals feast on the blue berries, and the endangered Golden Cheeked Warbler uses (exclusively) the sloughed bark of the very mature old growth trees for making its nest. Of course, cedar wood has been used by man for centuries for a myriad of products, from arrow shafts to fence posts.
Ashe junipers exist in two reproductive forms, like people do. There are male trees and female trees. Female trees are the ones that have the beautiful frosty blue-green berries, which are actually fleshy-scaled tiny cones in which seeds are produced. Male trees produce bright yellow projections which emit the dreaded pollen that causes cedar fever. A truly impressive sight is that of a male cedar tree at the moment the conditions are just right and it releases a yellow cloud of pollen. (Aaaachewww!) Reprinted from Tree Clinic Quarterly, 1st Quarter,2001.
Huisache, acacia farnesiana: The sweet acacia or huishache grows from a shrubby plant to a tre reaching 35 feet high. Distinctly vase shaped, heissache is slightly throny, and produces a spectacualr spring floral show of fragrant, yellow, ball-shaped flowers in late winter or early spring. The riverwalk in San Antonio is ablaze with color when these trees bloom after a gray winter.
Texas persimmon, diospyros texana: A shrub to small tree, Texas persimmon may reach 40 feet in clutivation. It grows in thickets ans is a nuisance to ranchers but is easily trimmed to interesting shapes for ornamental use. It has beautiful, peelling owter bark and smooth inner bark with shades of gray, white and pink. Texas (also called Mexican) persimmon produces small, sweet, edible fruit, though full of seed.
Golden-rain tree, koelreuteria paniculata: A very attractive small tree, golen-rain tree is native to the Orient and grows to about 30 feet. It produces excellent spring color when it flowers in bright yellow clusters. Its fruit is nice, too. Papery, bladderlike capsules appear in midsummer and persisit into winter. It is at lease a three-season tree. Golden-rain tree grows almost anywhere. Its only real pest may be the boxelder sbugs, but they do not apear to harm the tree. It has once-compound leaves.
Chinese pistache, pistacia chinensis: The Chinese pistache possess many qualities. It’s nearly pest free, reaches 20 to 30 feet tall, and once extablished it requires little care. It is not attractive as a young tree, but as it matures, it will produce an umbrella camapy. Fall color can be spectacular.
Editor’s note: This is part of an article appearing in the Austin Gardener published by the Men’s Garden Club of Austin, February, 2001.
Pine = long life
Bamboo = virtue
Japanese flowering apricot = Happiness
The New Year seasonal bonsai planting. Check out The Japanese Art of Miniature Trees and Landscapes by Yuji Yoshimura and G. M. Halford (p. 139). Literally translated it means pine, bamboo, plum and these three plants for the basis of a group planting which represents, to the Japanese people, evergreen stability (long life), upright behavior (virtue) and happiness. To these three basic plants are added miniature bamboo, the red berried ardisia, nandina, and the Japanese wild orchid, two rocks, white pebble and moss.
The finished planting is not unlike a saikei, leading the viewer to feel the pebbles represent the sea, the rocks a seashore and the trees placed in order to give the visual effect of a mountain in the background. The leafless plum tree is in bud at this time of year, the orchid about to flower, the ardisia berries brilliant red against its dark green leaves, the nandina’s red winter leaves and the variegations of the miniature bamboo harmonize well with the green pine tree. All in all the Sho-chiku-bai is very pleasing visually.
by Stan Perkins
Soil has a number of functions. First, it supports the plant by giving a medium for the roots to hold fast. Second, it stores moisture necessary for plant growth. Third, soil holds air required by plant roots to function properly. Finally, soil provides or retains the nutrients necessary for plant growth. In bonsai, plants are kept in shallow pots with very little soil present when compared with what exists in Nature. Therefore, the balance between too much and too little rests on a razor’s edge of difference. We must pay constant attention to the soil, water, fertilizer and drainage to be successful in bonsai.
Roots function to hold the plant in place in the soil and to absorb nutrients and water. Tough, thick, woody roots generally provide most of the support functions while only the smaller capillary roots absorb water and nutrients. Water is not absorbed but rather must be in the form of water vapor.
This is why air must be present. Most plants will die if there is not enough air to aid in this absorption process. Excess water will also encourage fungus and bacterial growth which causes root rot. A loose soil mix helps this process by allowing enough spaces for capillary water and air to benefit plant growth.
Particle size of the soil is very important in the above process. Soil particles too small tend to clog these capillary passages and water will not drain rapidly. Water will adhere to these finer particle and the soil will become water-logged. Air is displaced in this process, severely affecting the absorption process. We can prevent this process by careful attention to the particle size of our potting mixes.
Japanese textbooks (and some American texts) recommend to layer the soil based on particle size. Current research seems to indicate that this is not necessary. In fact, there is some research which shows that layering in the soil may actually inhibit root pene- tration through the different zones.
No one can really tell you what mix of soil is best for your plants. a lot depends on the microenvironment present where each plant is growing. Careful observations on what each plant seems to need is the only way to determine the “right” soil mix.
Reprinted from Texas Bonsai, Winter, 1992
| Protect from Cold |
Semi-Hardy |
Honeysuckle |
|---|---|---|
| Aralia - all varieties |
Bamboo - in pot |
Jasmine - confederate |
| Barbados Cherry |
Azalea |
Juniper - most |
| Bougainvillea |
Blood Grass |
Ligustrum/Privet |
| Brush Cherry |
Camellia (don’t let buds freeze) |
Maples - all |
| Burcera Fagaroides |
Hokkaido & Seiju & Catlin elms |
Myrtle - all |
| Bucida Spinosa(Black Olive) |
Gardenia |
Nandina |
| Bucida Burcera(Black Olive) |
Olive - Olea Europs |
Oaks |
| Buttonwood |
Pyracantha - never below 25 F. |
Osmanthus |
| Calliandra (Powder Puff) |
Yaupon Holly - never below 25 F. |
Okinawa Holly (indoors) |
| Carissa (Natal/African Plum) | Peach |
|
| Cardboard Palm |
Need 6-8 Week Cold Period |
Persimmon |
| Ficus - all varieties |
Abelia |
Pine |
| Fukien Tea (never below 45 F.) |
Althea |
Pyrus Kawakami/Calley |
| Ivies - all varieties |
Apple/Crabapple |
Pittosporum |
| Jacaranda |
Arbovitae |
Plum |
| Indoor Oak (Nicodemia) |
Azalea - Satsuki may be indoors |
Podocarpus (indoors) |
| Ixora |
Bald Cypress |
Pistachio |
| Jasmine - Duke |
Barberry |
Quince |
| Jaboticaba |
Camellia |
Raphiolepsis: Redbud |
| Malphighias - Cocigera & Glabra |
Chamaecyparis |
Rosemary |
| Orange - all citrus |
Cotoneaster |
Spirea |
| Papyrus |
Cryptomeria |
Spruce |
| Satinwood |
Cypress |
Sweet Gum |
| Sea Grape |
Elms - Chinese & American |
Tallow |
| Sageretia |
Forsythia |
Viburnum |
| Serissa (Snow Rose) |
Ginkgo |
Willow |
| Texas Ebony |
Grape |
Wisteria |
| Zamia Floridana |
Holly - most |
Zelkova |
The above list courtesy of Edith Sorge, deceased, of The Bonsai Farm as printed in our October, 1996 Bonsai Notebook,
It was suggested, that as we have so many new members, this information may prove beneficial to them. Of course, it is possible that some of our older member might like the “refresher” too. Please advise if there is any other information worth repeating.
by Bill Will
Reprinted from Texas Bonsai, Summer, 1991
Editor’s note: This was the former editor of Texas Bonsai and in his editorial he added, “I realize that Americans are a law abiding people and MUST have a codified set of laws or a constitution by which to abide lest they become helpless and lost As bonsai has become a religion to most of us, I have given you something higher than mere laws They were given to me in a vision as I ascended Mount Fuji and are graven into a slab of Shimpaku wood with a jin graving tool.”
by Glenn Lewis
It seems that if I’m having fun, I mean if the tingle is there, somebody’s law is being broken. I felt this as Dr. Folse’ skiff rounded the river’s bend as we skirted the sand bar. When we cast off at first light, the weather was perfect - cool with a lot of ground moisture and the air was crisp.
We were looking for any plant that was not long and leggy. The type of plant that has my interest looks as if the I.R.S. has just done a number on it - a bit in shock, stunted and a little low to the ground.
The Nueces River in South Texas produces Cedar Elms (Ulmus crassifloria), Jerusalem Thorn (Parkinsonia aculeata L.) and Hackberry (Celtis occidentalis L.) fitting it the criteria. Paranoia set in when I recognized Scott, the Texas Parks and Wildlife Warden, poling his skiff in our direction. I wasn’t too concerned about the cat and mouse game about to begin. The boat equipment and papers were in order. The confusion would be in who owns what - does private property end at the vegetation line or center flow? “Be nice, Jocko”, I whispered to Glenda’s black Lab while snapping is chain to the rail. The guard hairs on his back were standing on end. “Watcha doin’?” With a rush of blood, the difficult task of explaining bonsai began. I was mumbling about being Past President of a club, having shown miniature trees at the Flower Show and Museum of Oriental Cultures. I was getting nowhere with the question. Stunted trees - that’s it - we are looking for stun--”. He looked at his buddy and smiled. I felt like turning the dog loose. The two skiffs were now well in the current, slowly drifting in the center of the stream for the Gulf of Mexico. Looking up on the bank was a stand of Cedar Elms, perhaps 5 or 9, in winter silhouette. What a group! A strong center upright tree with the others growing out and away, grasping for their share of this good earth. Damn, I wish I could duplicate that in a tray.
“Look, Scott, we’re collecting trees that are naturally, in nature, being abused and deprived. No one wants them, not even the Governor.” He took his push pole and eased the two boats apart and said, “I don’t know whatcha doin’ but have fun.” I was still trying to convince myself about doing plants a favor as he slowly pulled from sight.
The trees on the Nueces do not have it easy, with people and industrial pollution. Both the river and plants have suffered. When a Texas “blue norther” blows in, dumping 4 inches of rain with high winds, the river can roar. The discarded roofing material and sleeper sofas scraping the banks do a lot of pruning. This condition interests me, for the trees have low branches and the ever changing river bank leaves some tap roots exposed. The digging is simple, since the clay contributes to a tight root ball. The old, exposed roots, when cut and treated with hormone and treated as a green stick cutting, sprout feeder roots right away.
At the end of collecting in an area, notes should be taken of equipment, conditions and needs for future outings. Collecting is a real effort, so do it right.
The next group of trees to be liberated are oaks growing on a sandy dune, worn from time and the ever present southeast bay wind. I feel the tingle and know Jocko is saying, “Let’s go, Boos.” As I throttle the whaler upon plane, I slowly look over my shoulder and watch the beautiful rays of the early morning sun. I’m just feeling good.
Reprinted from Texas Bonsai, publication of LSBF, Summer, 1987 and February, 1987 newsletter of Corpus Christi Bonsai Club.
by Richard E. Hayes (reprinted from LSBF Publication “Texas Bonsai” Fall 1992)
Have you had the experience of watching a bonsai artist create a jewel of a tree from what appeared to be a confusing mass of trunks, limbs and masses of foliage; getting inspired enough to run to our favorite nursery to find something that resembled the artist’s original material; and achieving frustration when you started, forgetting where to begin and what to do next - much less ending up with something resembling a bonsai?
Of course you have had this experience! We all have. It’s basic to the beginning bonsai experience. If, however, you are now marking your fourth, tenth or twelfth year in bonsai and still have extreme difficulty in finding a bonsai in a collected tree or nursery grow specimen, you might need to review the basics of bonsai design, while keeping in mind that there is not always a bonsai - at least what will look like a bonsai in a short time - to be pulled from every potted, healthy-looking tree.
John Naka and other Masters of bonsai have repeatedly pointed out the good bonsai can be made only from good starting material. In an IBC workshop a few years ago, a bonsai teacher was aghast at the prospect of using the poor plant material which had been selected by members of the host society. Very few bonsai artist allow their lecture/demonstration materials to be preselected by members of the host society. Nearly every Master chooses his material after close and thorough examination. For what does he look? Obviously, he seeks those elements of design inherent in natural material, which will combine to produce a near-instant bonsai.
If you were to follow the “Golden Girls of Texas Bonsai” - Fran Bruchmiller, Yvonne Padilla and Cathy Rehberg - as they go through a nursery, you would see them pushing aside foliage to examine trunks for character, taper and line. You would see them on their knees feeling in pots for root development. You might hear them ask about growing habits of unknown, interesting material.
These three local bonsai experts have so thoroughly integrated the basics of bonsai design that they can quickly “separate the sheep from the goats.” So much for rambling. Now, now to basics!
The trunk and surface root development are the two most important aspects of bonsai design. To create the image of an old tree, made small, there must be a trunk which has a buttressed base exhibiting the character and strength produced by age. The tree would taper upward from a firm, full base to the thinner top trunk gone to branches.
In bonsai the trunk is inclined toward the viewer. Roots radiate from the trunk; yet they do not grow straight to the front, not do they reach the edge of the container before disappearing into the soil. Major cuts are made, wherever possible, so as not to be visible from the front. In formal and informal upright styles, branch placement is begun, generally, one-third (1/3) up the trunk, either on the right or left, with the next branch opposite and higher up and with next higher-growing branch placed behind the trunk. Ideally, the side branches should be angled slightly forward in order that the leaning trunk and limbs embrace the viewer. As in Nature, the lower branches are the thickest, with the smallest growth at the top of the tree. Where to begin? Most bonsaiists work on the basic structure of the tree first and then do the refining. Wiring of secondary and tertiary branches, to produce foliage pads, comes as the last stage.
Apex alignment to the nth degree is usually done after potting. Frequently, the potting process will inadvertently misplace several limbs which can then be realigned.
Except for round, square or equiploygonal containers, bonsai are placed off center. Conifers, by tradition, are planted in unglazed containers. Trees for glazed containers should have a dominant color feature which harmonized with the glaze. Oops, I got off the topic!
To make the bonsai design work for us automatically, we must practice ad infinitum! Educational psychology tells us that we retain about 10% of what we hear, 15% of what we see, 25-30% for both and 40% of what we have learned by doing. Take workshops, help others with their trees and give lecture/demonstrations. We remember most what we teach. Grab those new members and TEACH THEM!
by
Fawzan Barrage
former Austin Member
The common bond between all masterpieces of art is sincerity. It is this sincerity that invokes in us a moment of epiphany; that moment of effortless discovery and joy, or what the Japanese call "Te" (unthinking, unconscious ingenuity and creative power of our spontaneous natural functioning - a power that is subdues when forces to conform to our logic). Without this sincerity, creativity is reduced to method, art to duplication and masterpieces to perfect replicas.
If we are to have a truly North American movement in Bonsai, OUR contribution to the art has to be, in every way possible, reflective of OUR reality and OUR understanding of the indigenous nature of OUR continent. Just like it is easy for the trained eye to distinguish between a bonsai trained in the Chinese method and one trained in the Japanese method, our bonsai has to be clearly identifiable by the way we adapt the classical "rules" to conform to our nature.
It is the image of our indigenous trees that must inspire our art movement and not the photographs of bonsai from Japan. In contemplating Maples, for instance, it is more natural for us to envision a majestic Maple growing next to a farm house in New England than a Japanese grove with Mount Fuji in the background. The same holds true for our Bald Cypress, our Oaks, Elms, Figs, Junipers, Pines, etc...We all live among those trees and their shade at different time in our lives. The Japanese artists who create the bonsai at which we marvel in books and magazines take their inspiration for the indigenous nature of their islands - as we must take our's from the nature around us. I f all we do is copy the trees of Japanese artists, we would do no better than a painter dedicating his art to copying the great works of the Masters.
It is truly revealing how we will not give a second thought to endowing our bonsai displays with Japanese and Chinese figures, but scoff at the sight of a miniature tire hanging from a bonsai branch, reminiscent of many of our own backyards. Which is more sincere to our collective eye? Where in North America can you readily see a Japanese man dressed in his traditional kimono and reading a book in the shade of a Bald Cypress, Canadian Spruce or Cedar Elm?
We musty begin to understand that the Art of Bonsai is no more exclusively Japanese or Chinese that theater and poetry are exclusively Greek. These cultures created the art forms and should always be honored for doing so. Yet, had we insisted on simply copying the Greek drams without adapting the art form to our own culture, theater would have remained stagnant and eventually disappeared. All of the masterpieces of drama and film - from Shakespeare to Scorsese - would not have come about.
It is acceptable for a beginner to copy existing works of art in order to learn technique and method. Once we are over that stage however, Nature should be our inspiration instead of pictures in bonsai books and magazines. If you want to create a Cedar Elm bonsai, for example, visit the Hill Country of Texas and look at what Nature has done with those trees in their native setting. Barring an actual visit, have a friend photograph some of them for you. Learn the tree’s growth habits, distinctive looks and study its natural shape. Take notes - all artists do. Armed with that knowledge, let your creative genius take over. The result will be on YOUR sincere interpretation of Nature, OUR bonsai art and, hopefully, our North American Bonsai Masterpiece.
Reprinted from Texas Bonsai, LSBF publication, Summer, 1991
Excerpts taken from Miniature Living Bonsai Landscapes, The Art of Saikei by Herb Gustafson (with his permission)
Saikei literally translates as "planted landscape" or it is the art of the living landscape. A classic form of bonsai, it uses miniature trees, rocks, soil, water, and related vegetation such as ground cover to form replicas of gardens, deserts, landscapes, and other beauties of the natural world, evoking the visual pleasure one finds in nature. Whereas size limitations are not part of the definitions, they are a very real part of the practicality of each art form. A mountain setting, for example, would have very small trees as compared to the rocks. However, being able to move the finished work may preclude trees taller than four inches high!
Whether it's the cool serenity of a hard-to-find cave, the warm, spicy colors of the desert, or the lush, green delights of a forest paradise, anyone can use saikei to capture the beauty and essence of their favorite spot on earth on a small scale. Saikei encourages the use of small, young, and developing trees. Since the youngest plant material is used, saikei is the least expensive bonsai art, and is perfect for beginners, who can construct landscapes in a matter of hours, take them apart, and start over again.
The illusion and scale of the plant is more important than the species itself. Select individual plants for their dwarf characteristics and avoid using fast-growing varieties. Generally speaking, most saikei material needs to be smaller, younger, and more delicately shaped than bonsai material. Sometimes it is helpful to sketch out the rough outline of a design on paper. The drawing should not be a work of art, it should just represent the scale of the rocks, plants, and container fairly accurately; then shop for the appropriate-sized materials. Always consider the weight of your completed planting.
Good miniature landscapes take advantage of the visual phenomenon of perception of depth.. The use of close, middle, and distant focal points adds interest
and personal involvement for the viewer of the planting. Depth may be provided by the most subtle of elements. It might be provided by a curving path going "out of sight", a single distant tree, or a bubbling stream source just out of view. It does not have to be as obvious as a distant snow-capped peak. Just the idea that some of the back trees are hard to see is sometimes all that is needed. It draws viewers into the planting. Viewers will want to move towards the saikei, and adjust their eyes back and forth a bit to see the distant trees in the back of the planting.
Rocks, stones, and gravel can be found in many places. The easiest and most available source tends to be masonry and landscape supple yards. These establishments offer the best source for most miniature landscape enthusiasts - especially for those who do not get out into the country often.
One further element that needs to be considered is the role of color in the concept and perception of depth. Artists have for centuries noticed how objects in the distance appear to be more blue than the same objects nearby. The lush greens of the foreground give way to increasing blue tones.
There are five elements of landscape style: harmony (if one aspect of a work of art "sticks out like a sore thumb," the art is not likely to be in harmony), consistency (agreement of all the parts of a complex thing with itself: same kind of rocks, colors similar, one tree slants - they all slant, etc.), balance (the mental act of comparing or estimating two or more elements against each other), scale (comparative sizes of trees to rocks, trees to moss, rocks to gravel), interest (to gain the attention or excite the viewer).
Remember: An optical illusion is what we are seeking to create.
by Kevin Bailey, UK
A good display bench is essential for the outdoor display of bonsai. Once your trees have developed to the stage where you are proud of them, keeping them on a purpose built bench has many advantages.
Among these are:
Before you begin to plan your bonsai bench, make certain that the site is the best one possible. Some of the crucial considerations are:
Then there is the question of safety - in terms of potential for damage by children (frequent footballs from next door, etc.) pets or pests.
The spot chosen must be convenient for watering and routine maintenance.
Adequate thought must also be given to the security of your treasured possessions.
Once the site is determined, decide which materials you favour for the construction. There are a few different options. Strength, stability and a pleasing form would be your aim. Timber uprights should be minimum of 4" x 4".
The price that you can obtain your materials for is likely to be a factor, so look around carefully for the best supplier.
by Zachary Smith
At last count, there were 14,367 errors that can be made in bonsai training - well, that's how many I've made. Seriously, however, my experience in making errors (and seeing the results of others) has led me to conclude that a large portion of training mistakes can be related to poor timing by the artist. Most of us are familiar with the standard development techniques used to create the framework of our bonsai, but all too often we get in a rush to get the tree potted, thereby producing a less-than-exciting work of art.
For example, I have seen, in critique programs, bonsai-in-training in which there was an abrupt change in trunk taper. It was obvious that, during training, the artist removed the tree's leader with the goal of creating a new, tapering apex. This is a great way to improve your stock, a techniques all of us practice routinely. The only pitfall comes when you pot the tree too early. It is important to remember that, on potting, your tree's growth rate slows tremendously. That leader which was thickening nicely and promised to give you marvelous taper, has suddenly stopped thickening. The tree looks peculiar.
The solution to this problem is to back up a step, as much as it bothers you. Put the tree back into the ground or into a larger development pot. This will invigorate it, and your leader's growth rate will pick back up. You must be sure, however, that you restrain side-branch growth, as this will sap energy from your apex. Once this reaches the proper thickness, you can resume side-branch development.
Another problem I see (and have practiced myself) is the development of side-branch girth. In bonsai, a certain amount of mismatched side-branch thickness is all right, but we have all seen trees in which the number one branch (or another low branch) is of minuscule thickness compared to those occurring above it. It may be nicely ramified, which of course is one of your goals, but it looks peculiar. This is because the artist did not allow the branch to thicken sufficiently before reducing its length. Like me in times past, he/she could not bear to let that branch grow so long that it stuck way out and made the developing tree look strange. But you have to. Just as you don't pot a tree whose apex is underdeveloped, you don't ramify a branch which hasn't thickened sufficiently to be believable. Let it look funny for a while - you will be rewarded later.
Reprinted from TEXAS BONSAI (LSBF Publication) Summer 1990
Originally printed in Bonsai Society of Arcadiana newsletter May 1989
by
Mas Imazumi
Berkeley, Calif.
(With his permission)
The Kengai (Cascade) bonsai is a beautiful bonsai style and needs special techniques in its creation. I hope the following instructions will provide you with the information you need to complete a bonsai in the cascade style.
Most Junipers are ideal cascade material, especially the Juniperus chinensis sargentii (Shimpaku) or Juniperus procumbens nana and procumbens prostrata. Also, I particularly enjoy working with the Cedrus atlantica glauca (Blue Atlas Cedar).
Select the branches you wish to keep. It is best to alternate branches, and if you are not sure about removing a branch, keep it. Of course, remove the small branchlets and twigs growing out of the trunk so you will have a clean trunk line to work with.
Raffia is best to use to wrap the trunk of the tree as it protects the trunk when you do the heavy wiring and disintegrates over time. (Soak raffia well before using.) Tie raffia at the base of the trunk. You should have determined the direction in which you wish to bed the trunk for your cascade. Keeping the strands of raffia together (four or five strands at a time), place them along the trunk opposite the direction of the future bend. Every so often, tie this raffia to the trunk with a small (1 mm) piece of wire to keep raffia in place. (This wire is later removed when wrapping of the trunk is done.) Place the raffia all the way to the tip of the tree.
First Step - Prepare a 5 mm aluminum wire by cutting a length a little longer than from trunk base to tip of tree. Poke one end into the soil about two inches deep near the raffia knot at base of trunk. Hold this wire with your thumb and with the other hand bend the wire back towards you and then push it onto the trunk, over the raffia, repeating this movement every so often. At this point it is not necessary to extend the wire all the way to the tip. The bend/push maneuver assures that the wire will closely follow the trunk line.
After you have gone a ways up the trunk with the wire, take four or five strands of raffia, push the end under the wire and bring these strands down to the trunk base. Start wrapping the trunk with the raffia clockwise over the 5 mm wire. After wrapping about two to three inches, start wrapping counter-clockwise, first pushing the raffia under the wire and then proceeding as before. Doing this will keep the wire tightly bound to the trunk so it won’t move in any way during the bending process later. Continue changing direction from clockwise to counterclockwise as you wrap the trunk, being sure to wrap it very tightly. When you reach any of the 1 mm wire, remove it. Don’t forget to do this, as this little wire can very quickly begin biting into the trunk.
When the raffia strands begin to thin out, and there is still more trunk to wrap, take a new set of four to five strands, place about two inches on prior raffia wrap, push under the 5 mm wire and continue the wrapping. Anytime you reach 5 mm wire that hasn’t been aligned to the trunk, use the same bend/push motion as before, and do this as often as needed. If you need a rest, or are interrupted while wrapping, place the remaining portion of raffia strands under your wire so it will stay tight and not start unraveling. When you reach near the end of the trunk, where branches are thinner, discontinue wrapping. Tie raffia strands well so there will be no chance of having it unravel.
Second Step - Cut 5 mm wire one and a half times the length of the trunk if the trunk is of fairly large caliper. If of a smaller caliper, cut one and one third the length of the trunk. Now, start spiral wiring on the main trunk, keeping spirals about 50 degrees apart. First, of course, anchor this wire in the soil at trunk base. When you reach the point near the end where there is no raffia, wire somewhat loosely so wire won’t bite into the trunk when you bend in that area.
Now, anchor a second 5 mm wire, cut one and one fourth the length of the trunk, and wire it in a spiral fashion between the first wire spirals. This method may not look neat, but it will help prevent the trunk from cracking during the bending process.
Now the fun begins! If the trunk is of fairly small caliper, bend it in the direction you wish it to go using both hands, one near the base of the trunk (to keep from lifting it out of the pot), and the other up the trunk where you wish to begin the bend. Slowly and carefully bend the trunk, keeping the pressure as even as possible. If the trunk is of a large caliper, you will need to use branch benders. Try to make a sharp first bend, 90 degrees or better if possible, to avoid the “teapot handle” appearance. To hold this bend, you may use a turnbuckle system, covering the wire with tubing where it will be around the trunk. Make further bends in the trunk as indicated by your trunk line, keeping any branches outside bends and bring the tip of the trunk, which I term the apex, toward the front base of the trunk.
Primary Branches - Start wiring your primary branches, beginning at the bottom (the apex of the tree). When these are all wired, place them the way you want them, being sure to keep them in a horizontal line. At this time, you can remove branches that you were doubtful about at first, and cut off any that interfere with other branches, are directly over another branch, or too close to another branch. Strive for an “airy” feeling. Remember that, although the cascade may look skimpy at this time, branches will fill out in the future and give a beautiful appearance to your cascade.
Secondary/tertiary branches and twigs - After you have completed primary branch wiring, begin the fine detail wiring on remaining branchlets and twigs. Usually it is wise to wait before wiring the really tiny twigs until they have developed further - otherwise, you may break them. Remove any growth below a branch so you will have a nice clean line on your primary branch.
If the time is right, you may plant your tree in a cascade pot. Please refer to the illustrations which picture the right way to plant a full cascade, using an eight or nine inch deep pot, either round or square in shape. This may be place on a tall cascade stand when being exhibited . If your cascade doesn’t come down more than 2/3 in a taller pot (as illustrated), it is all right to use one. Remember, when you use a tall pot, your stand for exhibiting must be low, or a slab style, never use a tall stand with a tall pot.
When potting, be sure to have one to one and a half inches of gravel in the bottom of the eight or nine inch pot, and four to fives inches of gravel in the bottom of a tall pot.
In cascades, the lowest point (or tip) of the trunk is the apex and the top of the cascade is the crown. This is the reverse of what we generally consider as the apex of a bonsai. Do not allow the crown of the cascade to overgrow, as this will weaken the apex. Keep the crown slow-growing by pinching and trimming.
If you wish to create a double trunk cascade, follow the same procedure as for the single trunk.
After potting, place your tree in the full sun unless you live in a very hot climate, in which case keep it in filtered sun during the hottest time of day. Using your judgment on this, keep in mind that evergreens quickly become “leggy” with straggly growth if kept in a shady area. If you have created a maple cascade, place it in the same area as your other maple bonsai.
Four weeks after potting, begin a fertilizing program. It is especially beneficial to mist the cascade with Miracle-Gro (R) in the following manner during the growing season:
First - Mist only the lower third of the cascade.
Second - After ten days, mist the lower third and middle third.
Third - After a further ten days, mist the entire tree.
Fourth - Let it stand for ten days, then repeat this program.
Note: when misting (and do this in the early morning or evening), be sure you drench the foliage well -- the fertilizing mixture should be dripping from the foliage. If you do this faithfully, your apex should be healthy and not have the weak appearance I see on too many cascades being exhibited.
Six month after potting, at least one or two times a month, soak your cascade in a Miracle-Gro (R) solution for 30 minutes. The solution should reach the pot rim. Continue this program during the growing season to enhance foliage color and keep the entire cascade in a healthy condition. I find this also the best way to be sure the bottom of the root ball gets well fed and watered. Additionally, with my cascades, I place the pot in a shallow pan of water two to two and one half inches deep, with Miracle-Gro (R) added to the water. Add more water or fertilizer as needed, and remove after one week. Using this procedure once a month during the growing season further helps your tree to remain healthy and flourishing. Note: if a tall pot is used, place in five inches of solution.
Finally, using the method on cascades I have outlined in this article assures that you will have a cascade bonsai which you will be proud to exhibit and which, most importantly, will always give you pleasure as you view it in your garden.
Please give ALL your volunteer hours to our Garden Council Representative, Don Rehberg.
The article below seems appropriate being we have our show coming up; and
some of our newer members can use this
to build up their confidence. The author will be our guest in October.
by Herb Gustafson (with his permission)
Just finished a one-man show in a mid-sized town. I had to laugh at some of the remarks I overheard while “babysitting” the trees. I was able to engage many of the people but some were lost due to busyness on my part or not wanting to be engaged on their part.
“Are these banzais or Ming trees?”
“This banzai is a fake. The branches are just wired on.”
“Look at the cute pine cones on this fir tree!”
“I wonder if these pine cones are glued on?”
“Oh, no! These pine cones are on upside down!”
“Look! This maple tree has little fruits on it!”
“Three hundred years old. I bet he didn’t grow that himself.”
“Nuthin’ to growin’ dese tinks. Ju’ plant da seed
in a orange peel!”
“I wonder if you have to water them?”
“These aren’t banzais. A banzai is a different kind of tree.”
“Are you John Naka?”
“Don’t touch that! That’s poison oak!”
“Acer Campest...something. Must be the scientific name for poison oak.”
“That almost looks like a real tree!”
“Look! A forest that has a whole bunch of trees in it!”
“This one’s even got dwarf bugs on it.”
“How much for this one?”
“Doesn’t it hurt them to be outside here?”
“Can you do this with American trees too?”
“What kind of tree is this?”
Just like the sign says. Larch.
“What kind of tre is that?”
It is a deciduous conifer.
“Oh, I can read the scientific name! I meant what KIND
of tree is it?”
It is a tree that turns color in the fall like a maple, but has cones like a
pine tree.
“These aren’t your trees are they?”
Reprinted from Nov./Dec. 1999 Golden Statements
by
Michael Parkey
The bane of my tropical bonsai has always been scale insects. I have little problem with them in the summer when the trees are outside, but when I bring them in for the winter it becomes disgusting, with the sticky excreta of the scales spotting the foliage of the plants.
My tropicals spend the winter in a sun room with supplemental fluorescent lighting. I have used pebble trays and humidifiers to increase the moisture in the air, but these seem to have no effect on the scales.
In the past I have used insecticidal soap to control the pests, but this has two disadvantages. The soap only kills immature and adult scales - the eggs are immune, so you have to keep spraying. The soap also smells terrible.
This winter I tried a highly refined pesticidal oil. This is an improved version of the dormant oil spray most of us are familiar with, but it is less toxic to plants, especially when they have foliage. The brand I use is Sun Spray Ultra-Fine.
The results were very good, with the big plus that the oil kills scale insects in both the adult and egg stage. Theoretically, if you do a really good job, one spraying should do the trick. It also doesn’t smell as bad as the insecticidal soap.
I used the oil on my entire tropical collection with no leaf burn or other damage. I grow the following species:
Insecticidal oils also work well on hardy bonsai, but read the label carefully. They are specifically not recommended for junipers, for example.
Reprinted from Bonsai Society of Dallas March Newsletter, 2000
Editors Note: Harry was a very dear man and one of this club's staunchest supporters. He is now deceased.
There is something about bonsai that gets into your blood. Emotional attachments appear that are hard to explain. They can get out of proportion, when one considers that the object is just another living organism. But nature does not evaluate beauty among its priorities. Even to the seasoned growers, the loss of a favorite bonsai may sometimes be traumatic. There apparently exists a motivation about bonsai more complex than the mere satisfaction of nurturing a growing object. There is a reward that lies in perfection that never quite arrives. The journey thus becomes the destination. Somehow or other, the perfection syndrome takes over. We scrupulously try to avoid overstepping the ground rules for bonsai styling, but common sense suggests that, sometimes, rules are to be compromised. When we slavishly follow the rules, we often are doomed to disappointment. Ground rules should represent guidelines rather than rigid restrictions. When rules are bent, we may not possess an ultimate bonsai, but a potted tree can be almost as rewarding. Don't loose sight that a bonsai is a potted tree by design. It is an object studied, planned and shaped so that the end result is not only a miniature tree growing in a suitable container, but it is also a tree growing in a container plus a measure of grace, beauty, proportion and harmony. Ground rules are just that: guidelines. The more carefully we recognize and execute the guidelines, the closer we come to perfection. Collected specimens, naturally miniaturized by nature, may violate the rules because their beauty lies in their struggle to survive, despite the deprivation they endured, and being disadvantage by the elements. Ground rule guidelines are really a lot easier to follow with nursery stock. Bonsai is a fascinating hobby that I will always cherish. Reprinted from BONSAI NOTEBOOK, November 1990
by Marty Klajnowski
The new year is here regardless of whether you are ready for it or not and like it or not we are all a year older. I sometimes think the only redeeming value of growing older is that some of us also grow smarter. Now that the new year has begun, let us make some resolutions that will ensure better bonsai growing this year.
Resolution 1: We will not believe everything we read in books. All varieties, in a given book, are described in very glowing terms. However, all the varieties in that same book probably will not be the best adapted for your growing conditions. Tried and proven principles of your area are best used for novices and experienced bonsai growers. Listen and learn from the tried and true methods.
Resolution 2: We will not be deceived by "instant bonsai". Light, soil mix ph, water ph, fertilizing and TIME are the major ingredients for a master class bonsai so make the commitment and BE PATIENT.
Resolution 3: We will not overindulge our trees. Don't kill them with kindness such as using TWICE the amount of any fertilizer recommended, overwatering, spraying with pesticides or fungicides mixed to double strength solution (the "if a little does some good, a lot will be better" philosophy).
Resolution 4: We will not keep bonsai in total shade. Lack of light reduces productivity. Trees need 8 to 10 hours daily of at least 85 lumens of light. If you over-shade a tree expect spindly plants, poor blooms and little, if any, fruit production.
Resolution 5: We will pot the right plant at the appropriate time for the tree and in the proper manner. We will not try to "CHEAT" and plant too early or too late in a soil mix of the improper pH. Plant growth is governed by certain physiological limitations. We can provide optimum conditions for our trees to insure maximum growth, but we cannot hurry trees without damaging them.
Resolution 6: We will get organized. Prepare a diary of each tree owned and record its history such as procurement, soil mix needs, potting/repotting cycles, light requirements, and idiosyncrasies. Prepare soil mixes in advance. Take inventory of fungicides, pesticides, vitamin preparations, etc., to insure only currently dated ones are being used.
Resolution 7: We will share the knowledge and experience gained in the pursuit of better bonsai with our club members.
Reprinted from the San Antonio Bonsai Society newsletter, "Snips "n Clips", February 1989 issue.
by Bennie Badgett
If you dig a tree that anyone else has the slightest claim to, it will die. COROLLARY: If two of you see a tree exactly at the same time, forget it, the tree is dead whoever digs it.
A perfect bonsai in the ground is never a perfect bonsai in a pot.
A tree beside the road that is inconspicuous may live if collected, but a tree in a prominent position to be enjoyed by passers-by will always die if collected.
A tree pulled from the path of a bulldozer, even in midsummer, will live.
Collected junipers never die, they just fade away.
Cedar elms arising from root sprouts are not worth fooling with.
There is not a cubic foot of soil in Central Texas without a rock in it.
All those fine fibrous roots you see in a rootball you carried a mile will turn out to be grass roots when you get home.
For one reason or another you cannot get permission to dig at any of the best places.
You got to be PURE IN HEART!
reprinted from Austin Notebook February 1986
by Chuck Ware
In this article we will look at the yew and discover some of its potential uses in our bonsai collection.
In the plant world there is always the potential for confusion when it comes to plant identification. I encountered this when I listened to people talk about their yew. It was like hearing the story of the blind men describing the elephant. How could there be so many different descriptions of one tree. The answer is simple. There is more than one tree.
The first distinction must be drawn between the Podocarpus and the Taxus. They were once united in the taxaceae family. The Podocarpus (podocarpaceae) has about 75 species of mostly dioecious, coniferous trees and shrub, native to the temperate Southern Hemisphere and to the mountains and highlands of the tropics, North to the West Indies and Japan. The most common species of Podocarpus in our area is the macrophyllus. It is called the Southern Yew, Japanese Yew or the Buddhist Pine. It grows to 45 ft., with leaves 4-5 in. long and 3/8 in. wide. It is considered a Zone 8 tree. The variety Maki is widely cultivated in China and Japan. The Taxus (taxaceae) is called the yew. There are 8 species. Of dioecious, evergreen trees and shrubs and they are native to the Northern Hemisphere. The most common varieties are the English Yew (baccata) and the Japanese Yew (cuspidata). They will grow to about 50 ft. with leaves about 1 in. long. The cuspidata is hardy to Zone 5.
Notice the words "Japanese Yew" is used for both trees. Down in south Texas this is referring to the Podocarpus because it does well in the warm, moist climate. Up north it refers to the Taxus as it thrives in the colder climate. Both trees are magnificent specimens to use for bonsai.
Mr. Yamaji is a second generation bonsai grower from the Japanese island of Shikoku near the city of Takamatsu. Following his graduation from Kansai Gaidai Junior College he took over his father's bonsai business of growing bonsai. His business now includes exporting bonsai to many countries in the Americas and Europe.
Mr. Yamaji is 50 years old. He is married with four children, three girls and one boy. Consistent with Japanese tradition, he also cares for his parents in their retirement.
For the bast 35 years the Yamaji family business, Sanshoen Bonsai, has provided leadership for the bonsai growers of Shikoku Island. Mr. Yamaji is a member of the Nippon Bonsai Association and he is Vice President of the Bonsai Division of the Kokubunnji Agricultural Cooperatives. In addition to being an excellent bonsai artist and grower, Hiroyoshi has excellent English skills. He has a very disarming personality all of which make him an excellent teacher.
Owner of The Natural Gardener, has been heavily involved in the organic industry and environmental issues for over 28 years. His nursery has been voted "Best Nursery" eight times in the Austin Chronicle's "Best of Austin Poll," and is known for supplying organic products, native and well adapted plants, and bulk compost, soils and mulches. John is the host of Gardening Naturally, a biweekly question and answer radio program that focuses on the organic technique for home owners and weekend gardeners. He has hosted that show on KLBJ AM 590 for 20 years.
John originated the City of Austin's Chemical Clean-Up Day, which has become an annual event and has now established a permanent drop-off site. He also co-authored standards for certifying organic farms as part of a Texas Department of Agriculture Task Force.
Since 1983, John has written articles for Texas Gardener Magazine and Organic Gardening Magazine, and has won numerous environmental and industry awards.
Marty has been doing bonsai for over 30 years, maintains a personal collection and has exhibited her trees around the USA. She was selected as an Outstanding American Bonsai Artist and exhibited one of her trees in the National Bonsai Foundation Show. She has served on the Board of Directors of Bonsai Clubs International, has been Treasurer of LSBF for eight years, has been President of SABS twice and once as Vice Pres., and has been chairperson of one national and two state bonsai conventions. She will be the Exhibit chairperson for the upcoming 2002 joint ABS/SABS convention. She has written and published a bonsai workbook "THE ABC'S OF BONSAI AND SOME XYZ'S TOO". In addition, she was editor and principal writer of "BONSAI TREE CARE", a compendium of some 65 trees published by SABS. Currently, she is teaching bonsai classes in the North East Independent School District, San Antonio. An artist, lecturer, teacher, Marty travels nationally to do bonsai lecture/demonstrations; and last, but not least, a Texas A& M Master Gardener. She has been the recipient of the Master Gardener Education Award of the year.
Sign up today to take a workshop with this excellent teacher - $30.00 and bring your own tree! A great way to spend a Saturday afternoon from Noon to 4 PM on October 13, 2001!!! Send your check to our treasurer, made out to ABS, at 12404 Ranch Road 12, Wimberley, Tx. 78676.
As a member of a Garden Club for thirty-five years, Yvonne studied horticulture and floral design. As time went by her interest turned to horticulture. She grew a few bromeliads, cactus and other assorted plants and still does; but in 1980 a friend invited her to a meeting of the Corpus Christi Bonsai Club, she joined that night. She knew immediately bonsai was the hobby for her. At that time, the Corpus Christi Club could not afford out of town bonsai speakers and many times she drove to San Antonio, Austin and Houston to attend lecture-demos and take workshops with such notables as John Naka, Bill Valavanis, Roy Nagatoshi and many others. Through the years, her interest settled on South Texas native trees, Saikei and tropicals. She has conducted lecture-demos and workshops for several bonsai clubs in Texas; and has shared her knowledge with youth groups, Master Gardeners and other organizations.
Yvonne has been an active member of the Corpus Christi Bonsai Club for twenty years and served as President and Vice-President, chairperson of three State Conventions and has been active in the Lone Star Bonsai Federation serving as Secretary, Vice-President, President and Club Delegate.
She is looking forward to visiting with the Austin Bonsai Society members and conducting a Lecture-demo on Saikei with fukien tea - which will be raffled at the end of her program.
On Wednesday, February 6th, the Austin Bonsai Society was treated to a slide presentation and lecture by A. Nick Lenz, from Leverett, MA. Following his presentation, Nick evaluated several members' trees and provided suggestions for future design considerations.
Nick's topic was "Designing Bonsai for the Future," and during the course of his discussion, he provided valuable tips for collecting trees and for developing believable root-over-rock stylings. Those in attendance were entertained not only by his clever musings and thoughtful insights, but also by his slides which offered a glimpse at the beautiful trees that Nick has styled and the bonsai pots which he has created. His creative approach to bonsai, like his "Root-Over-Bronze-Barbie" styling, is both an inspiration and a challenge to think "outside the box" ...or in this case, the pot. Those not in attendance missed a rare opportunity to observe the vision of a unique American bonsai artist and potter.
from Suzhou, China (southeast China) Mr. Li is currently the secretary general of the Society of Suzhou Landscapes Architects and Garden Designers. Also, he is the secretary general of the Suzhou Bonsai and Flower Society. He is in the U.S. working as the design consultant for Chinese Gardens. Our speaker had been the director of the Suzhou Institute of Gardens for about 15 years until his retirement two years ago. It provided him with a lot of opportunities to research in Chinese Classical Garden Design. The Institute has done a great deal of excellent work in both historical preservation and restoration, and New Chinese Garden Design (classical style) as well. Before that position, he had been teaching the Garden Design in Suzhou Garden Academy. Mr Li presents programs as his personal effort to do some cultural and art exchange while he is in the U.S. He has approximately 120 slides on Bonsai in China. Mr. Li will be accompanied by his son, Richard, who will serve as translator.
Mary Miller has been creating and teaching bonsai for over twenty-five years. Born in Washington, DC, Mary moved to Miami, FL in the late 60s and began experimenting with bonsai using tropical plants.
For many years she owned The Bonsai Bench nursery near Homestead, FL. During those years she shipped tropical bonsai all over the US, Canada and Puerto Rico. The business never fully recovered from the damage of Hurricane Andrew in 1992. Today the nursery is closed. Mary looks at it in a positive way and says, "I now have the much needed time to refine my personal collection."
Some of her personal favorites include buttonwood (Conocarpus erectus), tamarind (Tamarindus indica) and many of the figs (Ficus spp.) Another favorite is one she introduced to the bonsai world: Bahama Berry (Nashia inaguensis). Mary is eager to share her accumulated bonsai knowledge of tropical plants.
She was voted a life member of both the Bonsai Society of Miami and the Gold Coast Bonsai Society, Ft. Lauderdale and teaches at Fairchild Tropical Garden, Miami, FL and Miami Tropical Bonsai nursery, Goulds, FL.
Mary has been guest speaker at many clubs including the Long Island Bonsai Society, Gold Coast Bonsai Society, Lighthouse Bonsai Society, Greater Cincinnati Bonsai Society and the Detroit Bonsai Club. She gave workshops at the '96 Bonsai Societies of Florida convention, the '98 Lone Star Bonsai Federation, Houston, Texas and the Lone Star convention 2000 in Corpus Christi. Three private collectors (one in NY and two in Miami) value her bonsai talents in maintaining their personal bonsai collections.
In addition to lectures, demonstrations and workshops, Mary writes about tropicals as bonsai for Bonsai Today magazine.
by Mike Hansen
For over 25 years, Mr. Susumu Nakamura has been a legend among bonsai hobbyists in the United States, Canada, Australia, Europe, India as well as Japan. Several years ago while attending a bonsai show in Chicago, we had the honor to meet this delightful man. His rare and reverent perspective of life, nature and bonsai left an impression that we shall not forget. A friendship was born that weekend which continues to grow to this day.
Mr. Nakamura was introduced to Texas at the Texas State Bonsai Convention, in 1991, which was hosted by the Austin Bonsai Society. During that event, Mr. Nakamura quite simply fell in love with Texas and Texans and vice versa; and he has returned to teach in Texas every year since then.
For those of you who have not met Mr. Nakamura, he is the Director of Education for the Nippon Bonsai Association, and he is the long time chairman of the NBA's Kokufu Bonsai Exhibition which is held at the Tokyo Museum of Art in February each year. In addition to his involvement with the Nippon Bonsai Association, Mr. Nakamura is past Director of Bonsai Clubs International and this July he will be the featured artist at the BCI 2000 Convention in Hawaii. He will conduct a forest-style bonsai demonstration on Sunday, April 29, 2001 as part of the 25th Anniversary of the National Bonsai and Penjing Museum in Washington, DC.
He is founder and proprietor of the Shonan Garden Center which is a bonsai nursery and studio that he operates along with his youngest son Makoto at their home in Yokohama, Japan.
Mr. Nakamura is in great demand as a teacher in Japan and around the world. We have found him to be an extraordinary teacher. This will be a rare opportunity to study with an world class bonsai instructor, so don't miss it.
We are very fortunate to have one of today's most knowledgeable and personable bonsai artists giving our March program Those that have listened to Kathy give a lecture or watched a demonstration or have taken part in one of her workshops know how stimulating and easy to understand she is. You don't get the feeling that she is teaching so much as she is sharing. Kathy has a wealth of knowledge, practical experience and skill to share.
Kathy, from San Jose, California, began bonsai by taking lessons from several prominent California instructors. The Golden State Bonsai Federation took a notice of her talent and eagerness to learn and named her their first intern to study bonsai in Japan.
Yasuo Mitsuya, one of the top bonsai professionals in Japan, accepted Kathy as an apprentice. She worked and studied hard during the standard five-year apprenticeship. This was a very difficult undertaking. Kathy was taught in the same manner and under the same conditions as a Japanese apprentice would be. She had the additional challenges of learning a new language and culture.
Kathy's determination and perseverance paid off at the end of five years. In 1993 she was awarded her certificate as a bonsai professional by the Nippon Bonsai Kyodo Kumi which governs bonsai in Japan. Not only is Kathy the first non-Japanese to receive the prized certificate, she is the first woman of any nationality to be so honored. She learned her lessons well.
Kathy travels extensively giving lectures, demonstrations and seminars. She is an instructor at El Dorado Bonsai, Inc., a bonsai school of distinction in Placerville, California.
This will be Kathy's fourth visit to our club. She was one of the headliners at the l997 Lone Star Bonsai Federation convention sponsored by the Austin Bonsai Society. Make plans to attend our March meeting. Not only will you learn, you'll have a good time in the process.
Mas was born in the United States, but spent his early childhood years in Japan. He returned to the United States and served in the U.S.Army. After his discharge, he began his career as a landscape gardener specializing in Japanese gardens in California’s greater bay area. Over 48 years ago, he b