the newsletter of the south australian bonsai...

T h e S o u t h Au s t r a l i a n B o n s a i S o c i e t y I n c o r p o r a t e d

SA Bonsai... The Newsletter of The South Australian Bonsai Society Incorporated

http://www.bonsaisa.org.au

Volume 20 Issue 2

April-May 2011

Juniper squamata prostrata pingii - Phoenix Graft

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Trees Repotted - Advice Given

Contents

President’s Report 4

Secretary’s Update 5

Peter Adams Dinner 5

Peter Adams - Visiting International Tutor and Demonstrator

6 - 9

Community Events - You Are Needed 10

Introduction to Bonsai Program 11

Nan Hersey - Life Member 12

Monthly Workshop Protocols 13

A Robert Steven Critique 14 - 15

Bonsai Display - Role of the Stand 16 –21

Leaf Reduction 22 - 23

BCI - China 2010 - Part 2 24 - 26

My Favourite Tool 27

Seasonal Tips 28 - 29

Additional Information and Housekeeping

30

The Final Word 32

Club Diary and Coming Events 32

V o l u m e 2 0 , I s s u e 2

A p r i l - M a y , 2 0 1 1

P o s t a l A d d r e s s : P O B o x 1 5 9

G O O D W O O D S A 5 0 4 3

Patron: Dorothy Koreshoff

O F F I C E B E A R E R S President: Brian Osborn

Club Phone: 0403 883 269

Vice President : Howard Hamon

Secretary: Philip Ekers

Treasurer: Bob Smith

Assistant Treasurer: Pauline Phillips

Editorial Team: Andrew Ward Marie Petersen

Library: Nan Hersey

Committee Annette Convery Khoa Edgecombe Janice Kain Sharron McKane Stephen McKane Joe Piro Janet Sabey Matthew Sharp David Shields Hugo Welling

S A B o n s a i …

T h e N e w s l e t t e r o f T h e S o u t h A u s t r a l i a n B o n s a i S o c i e t y I n c o r p o r a t e d

Opinions expressed in this newsletter are those of the editor, individual contributors and advertisers. They do not necessarily reflect the opinions of The South Australian Bonsai Society Incorporated.

Volume 20, Issue 2 SA Bonsai …

President’s Report Brian Osborn

I would firstly like to congratulate Nan Hersey on achieving life membership of The South Australian Bonsai Society Inc. Nan has been a very active member for a many years and has run the library from well before my time with our club; a well deserved honor Nan. Congratulations to the new committee, and a big thank you to the past committee for their work in 2010. Many thanks also to the returning committee … our members are well represented at committee and you are able to approach any committee member for suggestions on how we can keep on delivering the services, demonstrations and bonsai activities that you want. Welcome on board to our new committee members - Annette, Khoa, David and Hugo. Many thanks go to Howard for being my proxy at the AGM in my absence, and to Pauline who acted as returning officer and was most efficient in the process. A big thank you is extended to Sharron McKane who stepped down as Secretary and I welcome Philip Ekers as our new Secretary. I look forward to working with you in the coming years. Bob Smith was re-elected as our Treasurer, it is an intense and responsible role that ensures our financial security and ability to keep delivering services to our members in accordance with our constitution. We need volunteers to do shifts on the Bonsai Society Display at the Sunday Mail

Home Living Expo on 15 to 17 April, with set up on 14th. Volunteers will need to take shifts with another person. You will receive free entry so will be able to have a look around the Expo either before or after your shift. Sunday 1 May is the date set for this year’s Kodomo No Hi, Japanese Children’s Day Festivities, at Cowandilla Primary School. Again, volunteers are needed for that day to look after our Bonsai display. Janet and Howard did the demonstration on Jade at the March meeting and I expect it went very well. The demonstrations for February went well also with Janice talking on propagation ficus from cuttings; Andrew on figs propagation from seed and other general tips; and Janet, Howard and myself doing some shaping, training and branch structure. I uncovered a fig I had over a rock - actually a piece of mallee root - that was wrapped up with sphagnum moss and graft-ing tape, the roots were clinging to the rock very well so all it has to do now is fatten up some more. I have another one to do and will do it in July when the style of the month is on a rock over rock. As an aside, my absence at our AGM was due to golfing commitments … I had a great week of golf, nice wine, crayfish and crabs. I went fishing but there was too much water mixed up with the fish and we had to settle for fish and chips from the shop instead … the bonus - I didn’t have to clean or cook them!

See you in April Brian


Secretary’s Update Philip Ekers

It's a bit tough preparing a Secretary's Report when you have only been in the job a few days. There are a few items that I should remind members. I have taken some time updating membership details for the 2011 Financial Year, sorting them in an electronic format should make it easier in the coming years to extract data and maintain accurate membership records. For any who have ever tried this sort of exercise, you will know that there is likely to be an error somewhere. To overcome this and address any discrepancies in our membership data, I will be requesting a membership conformation at the April Meeting. Hopefully all details will then be more accurate. Members are reminded that Annual Fees were due by the end of February. For non-financial members this is the last newsletter you will receive. Membership of the SA Bonsai Society Inc. for 2011 is $10 for Students, $30 or Individuals and $40 for a family membership (families receive one copy of the news letter to one mailing address). Finally could I request all members that check with the Secretary when you have changes of contact details.

Philip Ekers

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Peter Adams Dinner (a relaxed evening of reflection and

prelude for the following day’s workshop)

at

The Morphett Arms Hotel

Saturday 30 July, 2011 7 pm

Private Dining Area

Extensive a la carte menu

Please make bookings with Andrew Phone: 0417 849 430

Email: [email protected]


Peter Adams International Bonsai Artist Visit 2011 Adelaide, July 30 - August 3

As members will be very aware by now, The South Australian Bonsai Society Inc has been fortunate enough to secure a visit by talented and world renowned international bonsai artist, Peter Adams, as part of his Australian tour (possibly his last working visit to Australia) in 2011. While it is often necessary to make extensive (and expensive) travel arrangements for our members to participate in international and national workshops hosted in other parts of the world and in other states, we are very fortunate to be hosting Peter Adams (and his extremely bonsai talented wife, Kate) for the weekend of Saturday 30 and Sunday 31 July. This is the weekend we would regularly use for the AABC Ltd Visiting Tutor Program, we consequently have the use of the Goodwood Community Centre for weekend activities. Positions in the workshops over the weekend are currently booked, however there is strong interest for a third workshop on Wednesday 3 August that will be open to participants only. Your committee has agreed to heavily subsidize this program. The SA Bonsai Society Inc will be charging members just the cost that Peter would normally charge for his services … but in Australian Dollars (no conversion … members save even more!!!). Other travel expenses associated

with the program will be met by your club. We will be hosting a full day workshop on Saturday 30 July and another full day workshop on Sunday 31 July. Both work-shops are Peter’s Full Design Program and will be held at the Goodwood Community Centre. Please refer to Peter Adams’ Website www.peteradamsbonsai.com for further information on his experiences, programs and services, although some information is provided (and further information will be provided in future newsletters) in the current newsletter. Although both weekend workshops are now fully booked for participants, there is scope for observers to sit in and learn from the experience, at a cost of $10 each per day. Observers should make their payments now so that we are able to fully cater for staging over the weekend. We will be hosting a Tuesday evening presentation by Peter Adams in place of our regular monthly meeting on Tuesday 2 August. This will be a special evening presentation, with details released closer to the meeting. Peter has indicated that his preferred format for the evening will not be in a Japanese Style ‘Master class’, but more of a hands on, experience where he will communicate his knowledge and experiences through bonsai demonstration, diagrams and anecdotes.



Full Design Program … Including Graph-ics Package (positions now available for Wednesday 3 August) The design programs are limited to eight students per day. They comprise a day of tuition, plus a graphics package including a personalized original color drawing of the future image of the tree - signed and stamped by Peter. These drawings are of framing quality and are widely collected. Drawings are generated from photographs taken at the time, or supplied by the student. Also included is ‘how-to’ text with black & white line drawings as well as a complete horticultural profile. This is com-parable to a complete workshop on paper. The graphics package is mailed later. Cost is $150… (again the SA Bonsai Society Inc is paying Peter’s fees in US Dollars … our members pay just $150 Australian for this program!!!) Many members of The South Australian Bonsai Society Inc will be familiar with Peter Adams’ work, including his extensive range of bonsai books, and his regular feature in Bonsai Focus Magazine. Peter has an extensive bonsai background, as well as a background as a fine arts artist … his artwork featured on these pages is representative of just a small example of his accomplishments.



In 2009 Andrew Ward, Ron Povey and Philip Ekers made the journey to The Ideas Summit in Sydney to observe Peter Adam’s work. Andrew and Ron both par-ticipated in Peter Adams’ Full Design Workshop while Philip was an observer. This exercise required Andrew, Ron and Philip to fly to Sydney; arrange car hire and accommodation; overcome the logistics of arranging to have a tree in Sydney, have tools and wire; and then to return home with their worked on bonsai! To think that this year our South Australian Bonsai Society Members will have the advantage of being able to participate in this program without the logistical difficulties experienced by Andrew, Ron and Philip! Over the next couple of newsletters, a series of Philip Adams’ client trees will be showcased … This is an experience that members will not regret being a part of; secure your position as a participant by contacting Andrew Ward on 0417 849 430 or at [email protected]. Your payment of a deposit of $50 will secure your position in one of Peter Adams’ Full Design Programs, with payment in full due by the end of June 2011.

S T O P P R E S S ! ! !

New Positions Available for Peter Adams

Full Design Program on Wednesday 3 August

Bonsai - Easy Steps with 21 Species Kate Adams, drawings by Peter Adams Peter and Kate will be available to sign copies of their books during their visit. Place your order for this stunningly illustrated book with Andrew before the May Workshop Evening.



Peter Adams Bonsai Artist … Client Trees An Ta … Juniper (http://www.peteradamsbonsai.com/clients/An-Ta/AnTa.html (5 March 2011) )

Experience the Peter Adams’ Design Process

http://www.peteradamsbonsai.com/clients/An-Ta/AnTa.html�


Community Events Your Club Needs You!

In President JF Kennenedy’s Inaugural Address, he is quoted with “Ask not what your country can do for you, but what you can do for your country”.

What has this to do with Bonsai? In particular … what has this to do with you and your role in your bonsai club?

2011 is shaping up to be a very busy year for our club.

We are to be represented at the ABC Carpark Caper on Saturday 2 April … Brian, Philip and Andrew have volunteered to look after our display. Hopefully we will spread the word of bonsai a little more and perhaps in the process, collect a few new members.

We are also to be displaying at the Home Living Expo at the Wayville Showgrounds from Friday 15 to Sunday 17 April. The site has been supplied to our club by Kym Jones Exhibitions and Events free of charge, and will be an excellent opportunity for us to showcase our passion, the art and science of bonsai. This is a major planning event and will require as many volunteers as possible so as to spread the workload and ensure we do not burn out any of our team.

The Home Living Expo will have a bunk in on Thursday 14 April and a bunk out at the conclusion of the event on Sunday 17 April. We have a 2.5 metre x 3 metre site which will give us good exposure.

FREE entry tickets will be supplied to those who volunteer over the weekend … so there is the opportunity to see other aspects of the Expo without need to pay an entrance! We need volunteers to take at least 2 x 3 hour shifts (over 2 of the public exhibition days) with another volunteer on our site, speak with the public about various aspects of bonsai in some cases and to ensure security of the bonsai on display. A volunteer roster will be presented at the April Meeting … so please do not be shy in giving some time for your club over this weekend.

The third showcase day for our club will be at the Japanese Children’s Day Festival - The Kodomo No Hi, which will be hosted at the Cowandilla Primary School by the Japan Australia Friendship Association on Sunday 1 May. Once again, we will need volunteers for this full day event, which has become a tradition in our Bonsai Calendar over the past few years. Darren Peter was instrumental in convening much of this event, with help from Matt, Brian and Andrew. We will be needing others to give up a couple of hours of their time on this day (set up is from 9am, with the day wrapping up at 4pm).

It is a busy month ahead, a month in which your clubs needs members to not so much consider what your club can do for you, but one in which our club really needs you to do something little for your club.


Introduction to Bonsai Program Janet Sabey and Andrew Ward The SA Bonsai Society will again be offering an introductory bonsai program, free for members, for beginners this year. In past years the program has been conducted in the main hall at the same time as the monthly workshop. This year we will be hosting the program in the meeting room, so that the lessons have less distractions and less competition with noise.

Lessons will be structured into three sessions, with attendance certificates issued to those who attend all three sessions.

Lessons will be held at the workshops in April, June and August … this way new members are still able to participate in general workshop activities in the other months and are able to think about and consolidate learning from the lessons.

The lessons will cover the following curriculum:

Lesson 1 - April Introduction to Bonsai, Five Basic Styles, Soil Mixes and Plant Nutrition Lesson 2 - June Sources of Suitable Material, Wiring and Directional Pruning Depending on registration numbers, mem-bers will work on a juniper at this work-shop so that they are applying wiring tech-niques to their own tree. Junipers are avail-able for purchase through the club. Lesson 3 - August Group Plantings Maintenance and General Care

To register for this program, see Andrew or email at [email protected]

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Nan Hersey - Life Membership Marie Petersen

A quiet and unassuming lady , Nan joined the SA Bonsai Society Inc over 15 years ago. She immediately took on any job that was needed. Nan was elected onto the commit-tee in 1999, and became Librarian in 2001 (10 years ago). Not only does Nan work behind the scenes with the library but she helps with the annual club stock take and supervises the kitchen at all our functions. It is dedicated people like Nan Her-sey that have helped over many years to promote the SA Bonsai Society Inc and build it into the great club that it is today.

Nan Hersey, busy as always, at one of our recent club shows, convening catering in our kitchen.

Eunonomys Saikei Planting by Marlyn


Monthly Workshop Protocols Andrew Ward

The monthly workshops, held on the third Tuesday of each month, are a wonderful opportunity for social dialogue and the sharing of ideas on bonsai design.

The aim of these workshops is principally to share a number of design ideas, and then for members to work on their trees with guidance from more experienced members. The workshops are a member benefit, and although visitors are welcome as observers, it is an opportunity for mem-bers to work and obtain guidance on their tree design.

Workshops start at 7.30pm and we aim to be out of the hall by 10.00pm. So as to run our workshops as effectively as possible you are asked to:

Wear your name badge (name badges will be kept in their boxes at the entry to the hall, and should be returned when you leave).

Obtain a number when you set up … this way everyone is assisted in order.

One tree per member … it is not always possible to advise on more than one tree. It is more beneficial for members to re-ceive advice on one tree only, work on that tree at the meeting … and conse-quently consolidate learning rather than becoming confused through working on too many trees. Remember that bonsai is a process, it is about thought and

consideration, it is not an experience that can be rushed through.

Please obtain a plastic tray to work in (a limited number are available for purchase from the club for $10 each). You should have a turntable and bring all wire and tools with you. Wire is available for pur-chase at workshops, but other bonsai requirements are generally only available at the monthly meetings.

Members need to practice wiring their own trees, cut their own branches … more experienced members are at the workshops to guide others; not to do the wiring and styling for others. We all learn more effectively through hands on and practical experience.

Please clean up as you go … definitely before you go. All ‘rubbish’ needs to be placed in the wheelie bins (that will be brought in from outside and into the hall). Please sweep up the area around you.

If you are available for end of the evening ‘clean up’… your help is very much appreciated. Remember that many hands make light work and it ensures that the same few volunteers do not have too late a night.

We will be aiming to start winding things up from about 9.30pm on workshop eve-nings so that our evening is finished at a reasonable hour.


A Robert Steven Critique http://bonsaibark.com/2011/01/17/a-robert-steven-critique-our-two-cents/

Robert Steven’s simulation of a Pemphis acidula that was submitted (next page) by Surmardi of Indonesia.

Making our point Though Robert doesn’t mention it in his critique, he does remove the background clutter that you see in Surmardi’s photo. To my eye, this change has as much impact on the tree’s appearance as Robert’s other changes.

Surmardi’s original begs the question: “why not just raise the tree and photograph it with only the yellow background?” The failure to do something that simple is a perfect example of how to diminish an otherwise very worthy bonsai. (Wayne Schoech)

http://bonsaibark.com/2011/01/17/a-robert-steven-critique-our-two-cents/�






A Robert Steven Critique http://bonsaibark.com/2011/01/17/a-robert-steven-critique-our-two-cents/

Robert’s critique This is a good example of bonsai that portrays a tree that has been shaped by natural forces. Although the trunk has a reverse-taper, it does not bother the eye. To the contrary, it becomes a unique point of interest, especially given that the artist is smart enough to place a large rock in a way that compensates and creates visual balance. The small jin at the top does a good job of playing the accentuation role, and the selection of the pot is just perfect in creating a natural feel. My only real concern is the shape of the crown. It is too round and dense compared to the foliage on the rest of the tree, which is more irregular and sparse. This inconsistency impacts the overall balance and character of the tree. My suggestion is to make the crown irregular, and then refine the other foliage pads. You can also change the right branch so that it slightly overlaps the trunk. This adds depth to the foreground.

The arrangement of the rocks looks slightly unnatural; they are more or less the same size and placed too symmetrically, with somewhat even spacing. This can be improved as shown in the simulation. General comments There is more than one way to design any bonsai and my critiques and recommended solutions might not always fit your taste because of personal preferences. I always try to give my opinion based on artistic and horticultural principles. To understand my concepts better, please read my books Vision of My Soul and Mission of Transformation.






http://www.stonelantern.com/Vision_of_My_Soul_p/b1vision-c.htm�

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Bonsai Display The Role of the Stand Attila Soos http://www.artofbonsai.org (sourced 5 March 2011)

THE BASICS

Few issues pertaining to bonsai carry as much uncertainty and controversy as does the correct use of the bonsai stand when displaying our trees. Many of us feel at home when shaping our trees, but suddenly tread on shaky grounds when the issue of display stand comes up. This is mainly due to the fact that we have no problem being inspired by our landscapes and our trees, but cannot easily relate to a bonsai stand, an accessory originating from the traditions of the Orient. Of course, bonsai came from the same cultures, but we easily adapted it to our own image of Mother Nature. The stands, however, that’s a different story. To complicate the matter, we tend to display our bonsai in an informal setting, thus giving ourselves a lot of leeway on the use of the stand. When it comes to formal displays, we tend to use the same liberal approach. And that’s when the controversy starts.

An often heard comment is the following: "Bonsai is not a Japanese art form anymore, so I am not going to follow the rules observed in a formal tokonoma display. Who are they to tell me what to do?" I agree that we shouldn’t follow anybody just because it’s their tradition. That may not be the right reason for an artist to make choices. But do we really understand why are they doing it the way they do? I suspect that if we did, we

could make the right choices for ourselves as well. There is a lot to learn from a thousand years-old tradition. We don’t need to mimic our teachers after striking out on our own, but they can certainly provide us with the tools we need if we aspire for mastering this art form.

Let’s have a quick look at the pot and the stand. From a design standpoint, they have two common characteristics: balance and symmetry. Some of them are more formal than others, but they are almost always perfectly symmetrical. I say almost always because, as we know, there are also boards, slabs and bamboo mats that are asymmetrical.

We can start with looking at the symmetrical stands first. Below we can see two examples of how a pot can be placed on a stand. In Figure 1 the pot is placed exactly in the centre of the stand. The entire set-up has one axis of symmetry that goes through the centre of the pot as well as the centre of the stand. The two form one visual entity. Their placement, relative to each other is neutral. The role of the stand is to be an extension of the pot and elevate the tree into a more formal and dignified position. It adds dignity and prominence. And it’s highly decorative. Figure 2. shows an asymmetrical placement of the pot. We have two axis of symmetry



and we are forced to look at the pot and stand as two separate entities. Depending on the position of the pot, we can shift back and forth the visual center of gravity of the stand/pot universe.

Comparing the two pictures, the first one has a static balance. The second one carries a certain tension and movement caused by the displacement.

At this point, the two placements are neither right nor wrong. Their appropriateness will depend on how they influence the overall presentation.

Now lets introduce the bonsai into the picture. Here is a slanting tree. It has perfect balance and it is correctly placed into the pot.

I want to spend a little time on the concept of balance, because for some of us it seems to play a key role in the placement of the bonsai on the display stand. There are sev-eral types of balance, when we apply it to bonsai. The first one is the tree’s anatomical balance. I borrowed this term from Robert Steven, who in his book, Vision of My Soul, so eloquently defined this key concept. It has to do with the correct proportions, relative to each other, of the

Figure 1.

Figure 2.

Figure 3.



trunk, branches, and nebari, in order to evoke the image of an old tree. The second one is the tree’s design balance, which has to do with the overall shape of the tree. And the last one is the correct placement of the tree into the pot.

When all of the above are done successfully, we can conclude that the tree has an overall aura of balance (it is important to distinguish between balance and movement: a tree that has movement should also have a dynamic balance). And this is why I have brought the concept of balance into this treatise: some believe that the tree has to be placed in a certain position on the stand, in order to achieve balance. They automatically place a slanting tree to one end of the stand to "balance the composition."

I would like to categorically dispel this false myth. If the tree already looks balanced in the pot without a stand, than the stand has no business of trying to balance it further more. The stand has many other roles, but balancing is not one of them. If you need a stand to balance your tree, there is something wrong with it in the first place, and the stand is not going to fix that.

Here is the tree placed on the stand. It is in the centre of the stand, has a strong slant-ing movement that extends beyond the edge of the stand, and yet it has perfect balance.

Let’s look at the first example of display. It is a formal 3-point display. The slanting tree is placed exactly in the centre of the stand. The neutral and symmetric position of the pot/stand unit lends a stable and formal grounding to the tree and does not distract from the overall harmony of the whole display. Remember: a formal 3-point display is an exercise in minimalism. Every little unnecessary detail can disrupt the perfect harmony.

Figure 4.



Now let’s change the arrangement by shifting the tree to the left side of the stand. This little shift added absolutely nothing to the picture. But instead, we introduced new forces and tensions to the tree/pot/stand unit. The pot and stand are clearly separate entities. We introduced a new moving part into the harmony that existed before. The question is why would we do that?

The traditional 3-point formal display places the pot in the center of the stand. It is the most efficient use of space that maximizes harmony. It avoids the redundancy of creating a little balanced space in the close proximity of the tree, and instead, concentrates on the overall harmony and balance of the three elements throughout the entire display area.

It warrants mentioning that the point demonstrated above does not conclude that we cannot create of a pleasing display when placing the pot off-center. But that’s not the point. The point is that if we want to maximize balance and harmony, we should follow the above-described practice. It is a simple demonstration that introducing extra elements and dynamics into the picture will diminish its effectiveness.

WHY DO WE STILL DO IT?

Recent discussions and inquiries within the bonsai circles revealed that a lot of people still like to place the pot off-centre. The reason is simple: they regard the stand not simply as an extension of the pot and a device to elevate and dignify the tree, but as a display area. This is a very important distinction worth repeating: they are not

Figure 6. Figure 5.



using the stand as a pedestal, but as a display area. This changes everything. One obviously does not like to place the tree in the centre of the display area, but off-centre. The tokonoma itself does not place the tree in the centre.

To aggravate this trend, following digital photography and the Internet, we see more often the pictures of bonsai instead of displays of real bonsai. And the pictures are mostly close-ups, meaning that if the tree is placed on a stand, this stand occupies 90% of the area around the tree. So the stand is virtually the display area. If the tree has a strong lateral movement, the artist will try to "compensate" for it by placing the tree off-centre.

Well, the above practice gives a new role to the stand. But it doesn’t hurt to remind ourselves that the stand wasn’t originally designed to serve as a display area. We can simply put the pot back to the centre and choose a correct display area for the tree/stand unit instead of trying to alter the tree/stand unit to match an inadequate display area.

When displaying bonsai in real life, placing the pot off-centre creates redundancy. Our eyes wander from the tree to the accent plant and the other elements of display, sensing the harmony of the display. Then, as soon as we realise that the pot is off-centre, we need to shift

our perspective, focusing on the mini display area created by the tree and the stand. Then, we need to shift focus again, looking at the big picture and display area. It’s similar to those drawings where one can see different forms when refocusing one’s eyes, such as a vase that also shows a kissing couple.

WHAT ABOUT THE EXCEPTIONS AND INNOVATIONS?

In art, nothing is set in stone. We can always find circumstances when placing the pot off-centre would actually improve the display. It’s important to know though, that these are not formal 3-point displays.

One example would be when we have limited display space, on a display table for instance. There could be cases, where leaving a large slanting tree on the centre of the stand would crowd the visual center of gravity into one side of the picture. We would need to compensate for that by shifting the tree to the side. This shift would make the stand into a display area and create open space where it is needed. We need to do this in cases when the space around the tree is reduced mostly to the surface of the stand and there is not much room beyond that.


Bonsai Display The Role of the Stand Attila Soos http://www.artofbonsai.org (sourced 5 March 2011) Another example is when we use slabs that suggest landscape around the tree. An irregular slab lacks symmetry, and therefore a dynamic balance and a sense of space is achieved when placing the tree off-centre.

As we notice, expanding the space to the right of the group enhances the austerity and simplicity of the image. Often, literati trees are displayed on irregular slabs, conveying impressions similar to the above.

In conclusion, when displaying bonsai one needs to focus on the overall display area with all its elements in order to determine whether assigning a new role to the stand creates any improvement. Stands and pots are designed with symmetry in mind, and there is a strong reason for respecting that in our displays.

Figure 7.

Japanese Maple (above) and Picea Abies (below), consider stands in light of current article. Trees displayed at previous SA Bonsai Society. Annual Exhibition.


How to Reduce the Size of Leaves Brent Walston http://www.www.evergreengardenworks.com (6 March 2011)

Introduction Reducing the size of leaves and the dis-tance between them (the internodes) is the primary focus of the final training of bonsai. This comes after years of developing the trunk, the nebari, and the branches. I have been studying this phenomenon for many years. This is what I have concluded thus far: The size of leaves, the length of inter-nodes, and the thickness of twigs are related to the:

Balance of the canopy to the root mass,

Age and density of the roots,

Level of fertility,

Presence or absence of hormones, Level of light. Of these five factors the first and second have the greatest importance for bonsai, but the other three also play a role. The Balance of the Canopy to the Root Mass The roots and top growth are in constant cyclical motion to stay balanced. In spring, the roots pump most of their stored energy to produce a full canopy of new leaves, and then shoots for more leaves. In summer the proc-ess reverses and the leaves resupply the roots with food, and provide energy for increased top growth. In fall the leaves stop producing food, but food continues to move down the stem from tissues. The roots continue to grow until the soil temperature falls below 60 de-grees, using some of their stored food to in-crease their mass, and yet retain enough re-serves to start the process again in spring.

To manipulate growth in bonsai it is essen-tial to be thoroughly familiar with this cycle and all of its ramifications. If you top prune a tree while it is dormant, you remove outlets, that is buds, for receiving food in spring, the result is the over stimula-tion of the existing buds, that are released from apical dominance (no more 'stop' hor-mones from the now cut off terminal buds). This results in long internodes and huge leaves, gigantic whips on some plants like apples and plums. If you root prune a dormant plant without top pruning, you remove part of the food supply for stimulating buds and new growth. The result is that released buds will form smaller leaves and drastically shorter internodes. Plants seem to know how many buds to stimu-late and how much new growth can be sup-ported by the roots. I don't know the physiol-ogy, but I have seen it enough times to know that it works. Root pruning succeeds in reduc-ing top growth up to the point that so many roots are removed that water transport be-comes critical. At this point, the plant cannot support any new growth and dies. This is called overdoing it. If you top prune a tree that has just leafed out, you remove the food factory that has just been created with most of the stored energy of the roots. The roots will have to use whatever reserve is left to issue a new set of leaves. This severely taxes the roots, and the new growth will have shorter internodes and smaller leaves. We use this principle in defoliation, although some time is usually allowed to re-stock food in the roots first. Multiple defolia-


How to Reduce the Size of Leaves Brent Walston http://www.www.evergreengardenworks.com (6 March 2011)

tion will result in ever decreasing leaf size. Liquidambar can be defoliated three times a season if they are in good condition, and are in a region with a long enough growing sea-son. The manipulations based on this principle allow one to do all sorts of things to control the speed and character of growth. This is the basis for most of the pruning practices used in bonsai. The Age and Density of the Roots New roots growing in fresh medium easily absorb water and nutrients and increase their mass very quickly, upsetting the balance in favor of larger leaves and longer internodes due to the excess food stored. Roots confined in a space tend to get woody and begin to lose their ability to store food readily. One of the first symptoms of a root bound plant is chlorosis resulting from the inability of the aged root system to take up essential nutrients. As the plant stores less and less food relative to the amount of top growth that accumulates, the leaves get smaller and the internodes shorter. This is one reason why these trees are in tiny pots, aside from the aesthetic value. The Level of Fertility The level of fertility is somewhat obvious. Plants with good nutrition have normal size leaves and internodes. Virtually no one rec-ommends not feeding bonsai to reduce the size of the leaves and the internodes. How-ever, it is sometimes done to plants in train-ing, particularly seedlings in the first year or two to get a series of close internodes low on the trunk.

Keeping a seedling a little on the hungry side and a little root bound can dramatically shorten the first internodes. This becomes valuable later on in the training process when the plant is trunk chopped to introduce a low curve on the trunk and attain taper. The places where the internodes formed will be dense with adventitious buds which will break easily on most deciduous plants. This is par-ticularly important for the Maple genus, Acer. Most strongly affected by this phenomenon is Japanese Maple, Acer palmatum. Of all the nutrients, the one affecting leaf and internode size the most dramatically is nitro-gen, so it is best to keep the level of nitrogen balanced in the feeding program. Presence of Absence of hormones Some hormones can affect leaf size and, par-ticularly, internode length. The most impor-tant of these hormones is probably gibberellic acid, which can dramatically increase inter-node length. These affects have little impor-tance for bonsai. Light Levels Plants with good nutrition growing in the maximum of light that they can easily tolerate will have the smallest leaves and the shortest internodes. And finally Spend some time reviewing the first two growth principles, and thinking about their ramifications. The answers to most questions about the timing of pruning, and the correct procedure to achieve design objectives can be deduced from analysis of these two principles.


BCI - China 2010 - Part 2 Philip Ekers

This article picks up on the 2010 BCI Tour of China, where Philip and Janice Kain were part of the delegate group from Australia. Chencun (Foshan City) World of Flowers and Associated Bonsai Exhibition This was my first truly big exhibition of trees. Compared with my visit to the USA National Arboretum in Washington the previous Christmas, the size and scale of the trees was astonishing.

I was overwhelmed by the number, the size, and the shear artistry of the trees. It was something I was completely un-prepared for.

Most of the trees were what we would class as large. In fact a number of them by my estimation would have been above the 193cm for penjing judging. The exhibition was in every way a magnificent display of trees.

Across the road from our hotel was the Foshan Ancestral Temple - a Taoist Temple, which was hosting a Penjing Exhibition. Getting across the road though had the potential to be a life or death experience.

To begin to appreciate the nature of traffic conditions in a highly populated country such as China, where in Beijing there are 2,000 new cars a day registered, traffic conditions are at best a game of “Russian Roulette”. This applies whether you are on

foot, on a bike, or in a bus under police escort. The Chinese mainly use the ‘wrong side of the road’ although at times even this was open for debate. I had difficulty determining the rules followed by road users, however I was assured by our tour guide that the best way to cross the road was to follow the locals, or to wait for a gap and simply ‘stride out’, look straight ahead, not to stop and try doge the traffic, and to maintain an even walking pace while looking straight ahead - the traffic would avoid me!!! After my first try I was not sure this was good advice as I was nearly skittled half a dozen times crossing the road. When I challenged the tour guide about his advice he simply replied he had watched me and I was moving much too fast and needed to slow down so the traffic could avoid me!

Having precariously managed to cross the road to the temple I was rewarded with a truly staggering array of trees. Of interest to me were the many Taxodium species, as I have a few of my own. I was intrigued in the way they were potted and the soil mix used. The potting of these trees appeared to be in ordinary pots with the drainage holes blocked, the soil on close examination appeared to be a mud/clay ‘slurry’ - it appeared as if they were heavily watered in the morning and by late after-noon the mix dried out to a very heavy clay, the consistency of treacle.



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My Favourite Tool Leaf Trimmers Philip Ekers

I have a tool that is old and pitted made of ‘black steel’, a tool I would describe as a pair of ‘spring loaded leaf shears’. Others may describe them more correctly, perhaps, as defoliating shears as they are used to achieve “hagari” or defoliation.

Just like Janet's favourite leaf pruning scissors or trimmers they are used to do a similar task and like Janet's are stamped on the handle in Japanese, so I have no way of determining the make, but that does not make them any less valuable as a tool to achieve the desired outcome. Unlike Janet's they cannot be used for much else. They are a really light weight tool that allows me to do individual fine leaf removal for hours and hours with minimal effort, but try and cut any-thing heavier than a half a match stick you need to reach for a heavier tool.

They are pitted because as a young Bonsai enthusiast I failed to use what should be every Bonsai persons most used piece of equipment … a cleaning block! I neglected my most basic housekeeping duties, thoroughly clean-ing my tools after each and every use.

If you have ever tried to reduce the size of foliage on one of you trees you will know that it requires the removal of each individual leaf and if you want a good result it must be done with great care and attention to detail so as not to damage the underlying developing leaf bud. This is a long and tedious task, sometimes taking several hours and is essential if refinement is your desired outcome. These ‘leaf shears’ allow me to sit and snip away at each individual leaf for many hours at a time. So though not my most used tool, it re-mains my tool of choice when leaf re-finement or defoliation is the task at hand.


Seasonal Tips - April Matthew Sharp

Although autumn officially ends at the start of March, in Adelaide it can stretch well into March and even into April. This year we’ve had a mild summer with higher than average rain and humidity so your trees have had it pretty easy compared to past years. By now the hot weather is behind us and we can relax from the challenges of summer. I removed my 50% shade cloth at the start of March to get the most of the autumn sunshine and I’m pleased that my deciduous trees are looking pretty good - I’m hoping for some autumn colour which is an unusual bonus down here on the plains. Don’t forget to keep watering as it’s easy to forget when the days are cooler. Even on a cold day, if there is a wind around, your pots can dry out quickly. If you have any willow trees this is a critical period because if the tree gets too dry in autumn it will sacrifice the bottom half of the weeping shoots. The tree will be survive but it won’t look its best through winter - when I think deciduous trees look their best (feel free to disagree with me, many do)! If any of your trees are still growing strongly then keep your normal fertilizer up to them, if they show signs of slowing down for winter then it’s a good time to change to a low nitrogen fertilizer to help them over the cold months ahead. Pines are an exception (as usual), and I’m still feeding my pines strongly to encourage back budding, even though the needles stopped extending months ago. If I get a

good flush later in the year I’ll be able to use them to replace the existing shoots, thereby improving taper and ramification. Remove any remaining mulch or similar materials that were protecting your pots from the heat and suppressing weeds. My experiment with Lucerne was successful as all my trees survived but it was difficult to remove when I wanted to prepare a tree ready for the monthly meeting. I noticed Len was using the Maidenwell diatomite as mulch so I’m switching to that because it looks so much nicer and is easier to remove when needed. As mentioned last month, autumn can be a good time for repotting some species. Hot weather lovers (Jade, Ficus) should already have been potted in summer but I’ve had success with conifers (other than pines) and the more hardy deciduous trees (Ash, Chinese Elm). Last year I also repotted a couple of Olive trees in April and they really took off the following spring which was great considering I’ve had some trouble with Olives sulking for a while after a spring repotting. Hopefully you have some suitable pots ready (remember?). There is little pruning to be done in April other than light trimming to keep plants neat. When the final leaf falls on deciduous species you can then thin out the fine shoots. More on this next month. Autumn is my favourite time of year, hope that you too enjoy the cool evenings and crisp mornings out amongst your trees.


Seasonal Tips - May Matthew Sharp

May is a month of transition. Trees will be slowing down for winter so you should be preparing for the colder months ahead and start thinking about how you want your bonsai to grow in spring. If you’re lucky you may have some autumn colour on your deciduous trees. If so bring them to the meetings and workshops so we can all see! Conifers can continue growing well into winter, even if no new growth is apparent the roots put on a spurt of growth before the real cold starts in June. Your decidu-ous trees will be slowing right down if they haven’t stopped already but natives are usually growing strongly. This means that if your tree is growing solidly then keep fertilizing, obviously don’t fertilize trees that have gone into dormancy. I have lost more trees this time of year from lack of water than at any other time - why I’ve been harping on about watering even when the temperature drops! After being so vigilant in summer it’s easy to skip the watering when the days are cold. It’s important to check the soil and water when necessary. If soil is dry more than a few centimeters below the surface then give it a soak, and avoid any disappoint-ments in spring. As the sun is getting lower on the move your trees so they get maximum sun. If a deciduous tree has dropped its leaves then it’s okay to leave in a shady position but be prepared to move it back into the sun in spring when the buds start to swell.

Tree hygiene is important over winter - get ready by cleaning your benches and remov-ing weeds and fallen leaves from your pots. Insects and fungi are hiding amongst all that litter so get it out of there and clean up. Study your deciduous trees and if a tree has dropped all its leaves then you can clean out the fine shoots ready for spring. Ash trees are usually the first to drop and are the most likely to be ready in May. Don’t leave it too long because they are also the first to bud in late winter and I’ve been caught out before. Thinning out deciduous trees is one of my favourite tasks. Find somewhere warm and take the time to really consider how trees will grow next spring (without leaves this is so much easier). Remove overlapping or overgrown twigs cutting back to a bud that will grow in the direction you want. Remove coarse growth back to thin spurs and this will improve the taper and ramification for the next 12 months. I use a cut paste if I cut a branch more than a few millimetres thick. You can wire branches too but nothing too drastic, leave that until spring or summer. Many prefer to wire in late winter when the buds are swelling because the buds are easier to see, plus you can tell if any buds have aborted - I’m too impatient to wait, plus the buds are more delicate in spring and they are easily broken off. Up to you, but make sure you do it. Soak up the sun with your trees while it lasts and enjoy the season.

Additional Information and Housekeeping

Please address all correspondence to: The Secretary The South Australian Bonsai Society Inc PO Box 159 GOODWOOD SA 5043

Memberships Fall Due Annually as at the March Annual General Meeting Single $30.00 Family (living at a single address) $40.00 Student/Country $10.00

Meetings First Tuesday of the month (Except January) Goodwood Community Centre Rosa Street, GOODWOOD 7.30 pm for 8.00 pm

Workshops Third Tuesday of the month (Except December) Goodwood Community Centre Rosa Street, GOODWOOD 7.15 pm for 7.30 pm

Library A extensive library of bonsai books, magazines/journals, DVDs and videos are available (as part of membership benefits) for use by members. Borrowed items must be returned (for borrowing renewal also) in the month following their removal for loan. Non-financial members may not borrow, borrowing privileges may be revoked for members who do not respect the borrowing process.

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Coming Meetings, Workshops and Events Club Meetings and Workshops are held at the Goodwood Community Centre,

Meetings and Workshops

SA Bonsai Society Meeting: Tuesday 5 April at 8:00pm Judging: Australian Native (other than Ficus), Semi Cascade, Free Choice

SA Bonsai Society Workshop: Tuesday 19 February at 7:30pm

SA Bonsai Society Meeting: Tuesday 3 May at 8:00pm Judging: Juniper, Formal Upright, Free Choice

SA Bonsai Society Workshop: Tuesday 17 May at 7:30pm

Events

Home Living Expo 15 - 17 April 2011 Adelaide Showgrounds Bendigo Bonsai Club Easter Exhibition 23 - 25 April 2011 Forest Street Uniting Church Hall, Bendigo

AABC Ltd 24th National Bonsai Convention Come Together Hosted by the Bonsai Society of Western Australia Inc Headline presenter Master Min Hsuan Lo, 20 - 23 May 2011

Peter Adams - International Bonsai Artist South Australian Program Saturday 30 July - Wednesday 3 August 2011 Goodwood Community Centre

The South Australian Bonsai Society Inc Annual Show Saturday 8 and Sunday 9 October 2011, Goodwood Community Centre

Please refer all correspondence regarding newsletter to: [email protected]

The Final Word Andrew Ward - Editor

Planning and Preparation, the importance of these two organisational elements are integral for a successful bonsai lifestyle.

While bonsai is a meditative process, it is not an art which magically happens, without a determination of spirit.

The eating of fresh young growth shoots by hungry green caterpillars just happens, perhaps through inattention.

When it comes to us ensuring growth is developed in our bonsai and a bonsai is styled in a particular artistic fashion; that is

up to us. Attention to pruning, tip pruning, leaf reduction, plant and soil hygiene, wiring, removing wire, and then wiring again, repotting, mossing, preparing pots, preparing soils, ‘watering’ … these are the elements that make the difference between a bonsai artist with living sculptures and another who becomes despondent at a trail of failures.

It is through our attention to detail, and careful planning and preparation that we are able to develop our collections and balance a bonsai lifestyle.

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