Collected Spring 2011, about 30 cm to the tip of the dead spire. The deadwood of this tree was sandblasted last year which helped preserve the lovely little jins. The pot is by Shibakatsu.
As I have recently come to own two satsuki azaleas, I realized I’d better figure out how they work. One step I took was buying and reading Satsuki Azaleas for Bonsai and Azalea Enthusiasts by Robert Z. Callaham. It is an interesting book with some good satsuki techniques, but the bulk of it is designed as a reference for identifying cultivars.
One interesting technique is known as futame-futaba-nokoshi, and it means pruning the tree such that each branch ends in two shoots, each with two leaves. All other growth is removed. This allows an opportunity to wire the young shoots and promotes budding in the interior of the tree. Essentially it is partial defoliation combined with branch thinning. This ‘Kaho’ azalea which I purchased last summer has been undergoing a major restoration project, and it seemed a good time to apply this technique. All of the secondary branching was cut off last year, so futame-futaba-nokoshi provides a good opportunity to carefully create the future secondary branches.
The cutting/wiring was done almost exactly one month ago, and the follow up pictures are from today. This tree will probably have another round of cutting this year, as well as flower bud removal. Some long and awkward branches still need to be removed/shortened.
This Carpinus caroliniana forest was made in the Spring of 2013 and this year it was defoliated for the first time. Owen Reich told me that American Hornbeam respond well to defoliation (maximum once per year) and indeed the results were positive. One issue I noticed is that as the second flush was coming in, some very vigorous leaves grew back at an accelerated pace and became very large. These were periodically removed to allow the smaller, less vigorous leaves to fill in at a more uniform pace.
The tree was defoliated May 31st, just after the new growth had hardened off. One month later, the second flush had filled in and hardened off.
This is the first tree I ever collected, over eight years ago now. The development of this tree has been one step forward, two steps back. There is limited information out there on T. canadensis and I’ve only seen two that could be called bonsai (this tree isn’t one of them). This is probably for two reasons: 1) it is hard to find worthy material, and 2) they are a quirky species to work with.
Eastern Hemlock are unique for a number of reasons:
I have learned and re-learned these points “the hard way” on this poor specimen over the years. The resulting setbacks have probably doubled the time it should have taken me to get to the current stage of development. Now this tree has immense sentimental value to me despite being one of the last trees that draws the attention of any visitors to my yard.
I believe Eastern Hemlock is by far the most delicate and feminine species native to eastern North America, and perhaps even all of North America. This makes it priceless in our catalogue of native species and worthy of greater attention. I just wish material was easier to come across!
This old American larch (tamarack) bonsai, along with two others, was stolen from a private collection in Toronto on June 23rd, 2014.
If you have seen this distinct bonsai, please call your local police department and/or contact the owner Elisabeth Leslie ewleslie[at]icloud.com
The bonsai community is tight not only in Toronto but worldwide. Hopefully we can use this to our advantage to help get this lovely tree back to the owner.
Click here or the image below to see a gallery of over 60 trees exhibited by the Bonsai Society at Royal Botanical Gardens to honour the 25th anniversary of the twinning of Itabashi, Japan with Burlington, Ontario.
The Toronto Bonsai Society is extremely fortunate to have a member who committed much of his time and energy to professionally photograph every tree at this year’s Spring Show (not to mention updating and maintaining the website). It is amazing the difference a professional quality photograph makes (and also amazing how it highlights the flaws in our trees!). Thank you Dan… even if you photographed my Potentilla from the back… doh!
Click here for the full gallery, or the image below.
According to Ryan Neil (see this video starting around 26 minutes, courtesy of the most excellent and prolific Bonsai Eejit), the overall feeling of a bonsai is determined by the combined directions of the trunk, main branch, and apex.
Three common scenarios are:
Of course there are other scenarios such as the trunk and main branch going the same way while the apex goes off in the opposite direction. My guess would be that this creates imbalance thus it is difficult to design an attractive bonsai with this layout.
Ryan’s comments really stuck with me when I first saw this video. This is a simplified but useful approach to bonsai design. Of course, there are exceptions to the above scenarios just as there are exceptions to everything in bonsai.
When I was doing the initial wiring on this Thuja this weekend, I was aiming to create scenario #2 – Tension. Two trunks which strongly move to the left and apices/branches which strongly move to the right. This made a fun and compact design.
As a side note, my initial plan for this tree was to have everything moving to the left… trunks, branches, apices. It seemed like the most logical design. However, doing this would cover up the best feature of this tree – the two “kinks” in the trunks that boast some very nice deadwood. The current design makes it possible to emphasize those kinks and, importantly, makes a more compact tree.
Trunk lines like this are what keep me trekking into the wild each year to scour for nature’s freaks. This tree was collected Spring 2013 and is gaining strength quickly. I am excited to do the initial work this summer.