tag:blogger.com,1999:blog-23273061490061212472024-03-14T05:53:51.432+10:00Stephen Cullum's Bonsai & PotteryWelcome to my world of bonsai and ceramics, the perfect mix of art and science.
Find me also here: https://www.facebook.com/bonsaifoundationsStephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.comBlogger251125tag:blogger.com,1999:blog-2327306149006121247.post-23121763525518001132018-08-09T20:55:00.002+10:002018-08-09T21:10:56.541+10:00Post 251 Spring pruning<div dir="ltr" style="text-align: left;" trbidi="on">
Its only early August here but the plants know spring is very near and so it's time for a little spring prep. That includes a little top pruning and then the root pruning to give them the space to grow in the new season. Here's an example of a small Buxus harlandii going through the process.<br />
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Growing healthy bonsai is really all about growing healthy roots. You can see the amount of root congestion in the pots of these trees after one season. Nice healthy root growth but by now way too congested to be able to keep the water up to them in the coming summer. Root pruning is important for both development and survival.<br />
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And them a similar process for a small Lilly Pilly.<br />
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Some people wonder just how the trees survive this treatment but the reality is that they thrive on it. They don't need all those roots to get the water they need and without the root pressure they will have a reservoir of moisture around their roots to get through the warmer days.<br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-66534983303895431942018-03-07T17:34:00.001+10:002018-03-08T08:44:37.266+10:00Post 250 Tanuki updateIts surprising how much time has passed by since starting this little ceramic tanuki side journey. 2013 is more than the few months it feels like. So some pictures today of 5 of them.<br />
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This first one is filling out quite nicely. I prefer the full foliage arrangement rather than the more confected horizontal flat fans.<br />
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This is a professionally taken shot from a local club exhibition in 2016. Despite it's declared true nature it was awarded as winner in its class size. <br />
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Here it was when setup way back in October 2013, 4 and a half years ago. You can see the post about it then,<a href="https://bonsaipotterycoy.blogspot.com.au/2013/10/post-126-tanuki-no4-setup.html" target="_blank"> here.</a> And a picture from June 2014<a href="https://bonsaipotterycoy.blogspot.com.au/2014/06/post-155-tanuki-no-4-update.html" target="_blank"> here</a>.<br />
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This one dates from early 2014. I posted as story about it's initial carving in <a href="https://bonsaipotterycoy.blogspot.com.au/2013/12/post-137-new-tanuki-or-two.html" target="_blank">December 2013</a>.<br />
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This one was inspired in part by a famous old tree in the Pacific Bonsai Museum (below). It has a few more years to build the top but at least the base is ready to support it :) Its a little younger than the other two.<br />
These first three have been placed in pots from the same mold - essentially the same size. I have it in mind to exhibit them as a group, at the right time.<br />
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As well as the larger models I've also made small. This one is about 100mm. At this scale you can see how it has locked well into the groove.<br />
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Finally this one dates back only to <span style="color: red;"><a href="https://bonsaipotterycoy.blogspot.com.au/2016/04/post-211-new-tanuki-hot-out-of-kliln.html" target="_blank">April 2016.</a> </span><a href="https://bonsaipotterycoy.blogspot.com.au/2016/04/post-211-new-tanuki-hot-out-of-kliln.html" target="_blank">This post</a> shows it straight out of the kiln. I let it run for a time to build trunk mass and lock on, which it has done well. More recently it has had a prune and branch reduction, back to the essentials to go forward. Five years and it will be interesting.<br />
<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-91331631235749712242018-02-06T16:58:00.001+10:002018-02-06T17:00:19.540+10:00Post 249 Clerodendrum comes back to life<div dir="ltr" style="text-align: left;" trbidi="on">
In a little under two months since separating the air layer and a month since stripping off all the old branches the Clerodendrum ( <a href="https://bonsaipotterycoy.blogspot.com.au/2017/12/post-247-air-layering-of-clerodendrum.html" target="_blank">started here</a>) has sent out a number of strong shoots.<br />
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There are 8 in all but unfortunately they have mostly come from the left hand side. In anticipation I have prepared a number of hairpin scions for grafting. Once these have stabilised and put on a little growth I'll press them into action.<br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-16720596758075656832017-12-26T16:33:00.002+10:002017-12-26T16:33:23.855+10:00Post 248 Next stage for the air layered Clerodendrum<br />
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In my last post I covered the air-layering of this large trunked Clerodendrum hetrophyllum. This picture shows the air-layering in progress with the dam still in place around the cut site.<br />
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And then after separation and repotting. I also trimmed back the branches and foliage to reduce the dehydration load on the tree, having reduced its root capacity.<br />
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Now just two weeks later and every branch cut is reshooting, with multiple shoots at each site.<br />
This is typical of Cleros and it is one of the reasons why the species is such a good bonsai subject. An abundant capacity to shoot back on bare branches makes for easy bonsai development.<br />
At separation it had a very good root supply and so in the last two weeks and has firmed up nicely in the pot. It's prime time to get on with the next stage of the rejuvenation work.<br />
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Looking into the basic structure of the tree there is a straight section of the upper trunk which visually conflicts with the rest of the attractive taper and movement.<br />
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The branch structure is also pretty poor. Not nearly enough branches is the common failure of many bonsai. That trunk really deserves better and so I'm going to have to start again from scratch. When the tree was collected there were branches cut off leaving a number of flat faced scars and deadwood. The existing branches developed from the callus tissue that formed around these old cuts.<br />
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In repeating that process of branch renewal it is likely that new branches will again come from callus around new cuts and I may not get enough branches again. If that happens then I'll use grafting to get the right number and location of branches. I have lots of cuttings struck in small pots ready to go for just that purpose and over the next couple of weeks will get them ready for<a href="https://bonsaipotterycoy.blogspot.com.au/2013/11/post-132-ficus-grafting.html" target="_blank"> hairpin grafting</a>.<br />
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Here you can see the section of trunk that has to go. The branch to the left of the intended cut will provide an opportune apex.<br />
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Branches coming off.</div>
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And more.</div>
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Removing that trunk section down to the left hand branch stub.</div>
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Final view from the front.</div>
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From the right.</div>
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From the back.</div>
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And from the left hand side. There are lots of cuts on the trunk. Some are from the removal of recent branches and some from the scars from the original removal. I've carved out concave cavities in all of them and then sealed (not shown here) them all with cut putty to seal them up and assist recovery. With peak summer temperatures and plenty of water I'm expecting it to produce new shoots within a few of weeks.<br />
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<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-49038400107038672392017-12-10T08:28:00.001+10:002017-12-10T08:28:52.318+10:00Post 247 Air layering of a ClerodendrumThis is a story about the air layering (or ground layering) of a large club tree, a Clerodendrum hetrophyllum, that was done at a club meeting on Sept 23.<br />
The 'Clero' is a fantastic species for bonsai in this part of the world. It's a native of Reunion in the Indian Ocean and it came to tropical coastal Queensland in colonial days as a hedging plant for gardens. Since then it escaped the confines of gardens and is somewhat feral in a number of locations. But its still a great species for bonsai, robust, shoots back, small leaves and great fibrous bark.<br />
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The first three pictures are of the trunk of the tree from a number of different directions.<br />
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Suffice to say the nebari was pretty poor, comprising of very large
primary root structures and no fine root development and trunk flaring.
It was this poor appearance that was the motivation to complete an air
layering or ground layering, to build a quality nebari to match the
trunk.<br />
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This is the start of the work. Once a line was drawn around the base, the cut could be made.<br />
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Having cut and removed the ring of bark, plastic sheeting was placed
over the surface of the potting mix to make with a tight fit against the trunk of the
tree. The purpose of this sheet is to minimize any upward root invasion
of the planned layer potting mix. Without this barrier the tree's roots
would rise up into the potting mix placed around the cut and confuse
the signals about the layers success.<br />
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Here the dam (just a cut off garden pot) is placed and filled with regular potting mix.<br />
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This is a picture of the tree 11 weeks later on December 9, just before stage two of the layering - the separation.<br />
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The first indication of success of the layering is roots just below the
surface of the potting mix. With the plastic sheeting in place it is
unlikely that these roots have come up from the original root mass.<br />
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By just lifting slightly the dam wall the second favourable sign is more root evidence.<br />
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Taking the dam away entirely reveals very healthy and abundant root development.<br />
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Here the surface is raked away from the trunk to reveal very good root development from all around the trunk.<br />
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The pot was then tipped on its side to look between the plastic sheet
and the layer cut to confirm the roots have come from the layer cut,
making separation possible. Here you can see the major components of the
original root structure where they have been cut through. There was a
handsaw in the previous picture but this cut needed a chainsaw.<br />
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This picture shows the root development from the layering. To prepare
for planting the roots were gently raked out radially from the trunk so
that as they develop and gain weight they will be aligned to create an
attractive nebari. <br />
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The final picture shows the tree returned to the poly box to grow on and
stabilize. The branch structure was trimmed back to reduce any wind
load and also to reduce any dehydration pressure from the much reduced
root mass. At this point the tree is just experiencing what any other
tree would during a spring root prune and will no doubt respond in the
same way, with abundant growth. After a month or so for new roots to
grow and stabilize the tree, the next stage in the rejuvenation can
start - building a new branch structure - one that reflects the
broadleaf character of the species and will leave the future bonsai
looking like a tree!</div>
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<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-44144200635061254482017-09-06T17:26:00.000+10:002017-09-06T17:26:04.018+10:00Post 246 Ficus root pruning and sacrificial branch removal<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are a couple of Natalensis that I've been developing with sacrificial branches. Its time to take the sacrifice off one off and root prune both.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> This first one is one of three that I've been growing for about 3 years.<a href="http://bonsaipotterycoy.blogspot.com.au/2017/02/post-323-sacrificial-branches.html" target="_blank"> You can see some pictures of them all in an earlier post (232) here</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">They all started as small cuttings and I allowed a vertical sacrificial branch to develop on each. The idea was to develop a small tree with a large trunk in the shortest time.Here you can see the small tree developing close to the pot and then the scale of the sacrifice branch.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Here is the point of union, at the 'back' of the future small tree.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Here it is removed.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> From the front before starting the root work I did a little branch work and defoliation to reduce the dehydration risk. The style will be classic ficus architecture, certainly not an informal upright with dominant single tapering trunk.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> The first cut in reducing the roots.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> After a thorough root raking to see what was what.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Cut back to rearrange and refine the roots for the next stage of growth. It had a really large root from the left which had to be removed. These things are tough and will have no problem with this amount of roots remaining.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Re-potted and ready to go again. Still too soon for a bonsai pot. Perhaps in another 12 months.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> The second one is a tree featured in 'Bonsai Foundations'. It is a five year old Natalensis with a heavy sacrificial branch that I plan to keep for the time being. I use this tree in teaching and demonstration and so although the branch really should come off I'll leave it there with a minimum of foliage.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Here it is root pruned back and foliage clipped to minimize dehydration.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And then back in the same oversized pot for another year.</span></div>
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-45087637834282562312017-09-03T15:17:00.005+10:002017-09-03T15:50:42.263+10:00Post 245 Root pruning season<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Spring is here in Brisbane even though the nights are still getting down to 12ish, C. That means on the bonsai calendar that its root pruning season. I started about mid August with all the deciduous trees, then my natives and now its the turn of the ficus.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are a couple of other trees I did in some of the earlier work. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> First up is a dwarf Hinoki that I acquired this year. Its been in a garden pot and I wanted to replace its growing media and set it at a different angle, both good reasons for a repot.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Once out of the pot the highly organic material can be seen. It has grown pretty well in this material with good dispersed root penetration. But none the less my plan is for a much more granular open mix to replace it.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> This is about as much as I want to take off it this time.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> This is the replacement mix, one third diatomite, one third zeolite and one third mini bark (pre-composted).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Repotted and ready to go for the coming season.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Next up is another conifer; this one a blaauw juniper. Its been in this shallow pot for the year in my standard four part mix.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Nice healthy root growth and fully penetrated throughout the mix. At this time of year I find it increasingly difficult to get moisture into the pots. With lots of root growth throughout the medium the spaces for water penetration are blocked up. As a result the trees produce a lot of fine feeder roots in the top 20 to 25mm of the pot further impeding flow. So the top 25 to 30mm gets wet when watering but not much gets further down. Another really good reason for root pruning and repotting.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Pruned back and ready to go again.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Back into the same pot in the three part open mix. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> This is an upended Swamp Cypress.It grew all summer in a shallow pan of water and was starting to push the tree up out of the pot. When you see the roots in the base you can see why. This is a tree that I'm planning a radical cutback and restyle starting with a reversal of viewing position so I'll set the tree back in the pot with this in mind.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">From all that mass of roots back to this, a small tight block of fine feeders. Past experience says that the tree will relish this cutback and launch itself into the new season with a burst of growth.</span><br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-32414659070218971882017-08-08T22:18:00.002+10:002017-09-03T15:50:34.345+10:00Post 244 Transformation workshop<div dir="ltr" style="text-align: left;" trbidi="on">
At my local bonsai club we are stepping up momentum for change in the traditional appearance of our bonsai. There has been a long held view by many that the default styling guidelines which have originated in conifer styling should apply to all genus (ie including broadleaf trees). I have explained and expanded on the flaws of this idea in detail in my book "Bonsai Foundations".<br />
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This is a picture from a local park of what I think is a Hoop Pine on the left and a Ficus on the right. These two trees could be no more different in their growth habit and are iconic exemplars of their genera and families. The triangular profile of the conifer contrasts with the rounded domed canopy of the broadleaf. The dominant single trunk and branch structure of the conifer is a world away from the divided trunk and complex branch structure of the broadleaf.<br />
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And yet given these fundamental differences the conifer shape has been the default styling for all bonsai, at least in my part of the world. Actually I think much of the Western bonsai world suffers the same problem. It is easy to see why and how this has happened but that is another story.<br />
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A recent step to address this imbalance has been to hold a Transformation Workshop for all those up to it. It is interesting that over the last year that we've been talking about this there are many folks who once looked at their trees with pride, now really just want them changed or out. The following tree (a Clerodendrum hetrophyllum) is one of those.<br />
In recent times it has been highly regarded and awarded. But in reality it is a formalized black pine surrogate, clipped to the point of being a Niwaki, a Japanese garden tree or sometimes called 'cloud tree'. The garden trees of Japan are cute and whimsical but they are more topiary than bonsai and the model should not be taken as a bonsai style.<br />
The typical characteristics of trees styled this way are a dominant single trunk, an inadequate number of horizontal topiarised branch pads and a bobble headed canopy/apex structure.<br />
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This was the tree before the work began. It was about 300mm high.</div>
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Afterwards the pads have been disrupted to incorporate division and separation of secondary branches. The gaps between the branch structures have been closed and the bobble headed apex pulled apart, to simplify and lighten. In the coming growing season the task will be to rebuild an apex comprising a divided trunk-line and more upward and outward fine branches forming a rounded canopy. This is day one in the transformation of a 15 year old tree. Given another year and it really will have broadleaf integrity and look like an aged tree in miniature, not a conifer surrogate or garden curiosity.<br />
Disruption seems to be a byword for our times. Who would have though the idea would play out in the local bonsai scene too.<br />
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https://www.facebook.com/bonsaifoundations/?ref=bookmarks<br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-76988885815370375012017-07-29T17:21:00.000+10:002017-09-03T15:50:24.719+10:00Post 243 Air layering of a Coastal Tea Tree<div dir="ltr" style="text-align: left;" trbidi="on">
I've been working on air layering off the top of this Coastal Tea Tree for many months. I probably made a start on the actual layer too late in the summer and as it is nearly spring again I though I'd have a look and see what was happening. A scratch of the surface showed some fine roots.<br />
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I used a pot fitted around the branch to hold potting media. I like this approach as it allows regular watering and monitoring. As soon as I removed the pot there was a good show of roots, all around the pot.<br />
This looked good but past experience warned to check the cut site before separating the layer. <br />
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Investigation revealed a single root had grown from a position about 60mm above the layer ring and all the roots in the pot has come from this point. It produced quite a mass of fine roots and was obviously doing well. I am keen to have a good annular distribution of many roots from around the layer ring cut, not just the one spot. So the only thing to do was to cut off the root and go again.<br />
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Here is the layer cut site cleaned up again. I thought the tree might have bridged the gap but that wasn't the case. I made a series of vertical cuts through the callus to initiate a further sealing response and hopefully roots.<br />
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All boxed up again and ready for the coming warmer weather. I've been working on the future tree and it is looking really good. A very naturally styled small tree. Give it a couple of months and fingers crossed it will get there this time.</div>
Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-9910056830875799992017-05-23T11:14:00.000+10:002017-09-03T15:50:14.751+10:00Post 242 AABC Convention 2017 - Exhibition Photographs<div dir="ltr" style="text-align: left;" trbidi="on">
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com2tag:blogger.com,1999:blog-2327306149006121247.post-69698892444834458332017-05-22T11:58:00.000+10:002017-09-03T15:50:03.014+10:00Post 241 AABC Convention 2017 Brisbane<div dir="ltr" style="text-align: left;" trbidi="on">
It's been a hectic few days at the 2017 AABC Convention at Royal on the Park in Brisbane city.<br />
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I had 4 largish trees accepted in the exhibition. Getting trees ready usually offers a busy few days. Last minute pot changes, surface dressing, foliage manicure, stand selection and prep etc etc and then getting them to and from the venue. On top of all that was about 50 pots for my trade table. Fortunately I didn't have to bring too many home.<br />
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Marc Noelanders was the international guest demonstrator and spent a few days on his feet talking.<br />
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He was of course absolutely first class in every way. I had the honour of sharing the stage with him for two and a half hours doing a pot making demo while he worked on a black pine.<br />
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Doing the demo was great for the delegates. Many said that when they saw pot making was on the agenda they expected something about as exciting as watching grass growing. Afterwards it was a different story and they came away entertained, informed and awakened. It was a great promotion for all potters and especially good for my trade table sales. My sales page on the blog has now been considerably depleted. I feel some more potting coming on.<br />
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Some of the new colours and styles of recent pots were very well received. Things like Pots 288, 292, 294 and 297. Those antique bronze/cast iron glazes were picked out fast and people just stood there stroking those sweet satin glaze surfaces.<br />
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I had an ambitious plan for the demo - to make a pot from scratch and then take it through two firings to a finished glazed pot. In preparation I bought a big cardboard box and dressed it up to look like a kiln. In convincing voice I told the audience it was brand new experimental technology that was powered by a mix of plasma and microwave technology and like all good appliances these days was wireless. Wouldn't it be great to really be able to go from a wet clay pot through to bisque in 3 minutes, and the same for a glaze firing!!!! Lots of fun.<br />
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This is my sales table. The drawcard was one of my ceramic tanukis. I had my book "Bonsai Foundations" there too and sold 50 copies over the two days. This will be a great step to getting the message of 'Bonsai like trees, not trees like bonsai' out to the Australian bonsai community. It should also expand coaching opportunities as an AABC Visiting Tutor.<br />
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I've taken photos of nearly all the trees in exhibition and will get them posted soon.<br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-88736325733161603422017-05-10T14:49:00.000+10:002017-09-03T15:49:54.587+10:00Post 240 More new pots for the convention<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is my last batch of new pots before heading to the Brisbane Convention in a couple of weeks. I should have a stock of about 45 pots to show and sell.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">First up is Pot 289 a largish bowed wall rectangular pot with slightly convex walls. It is in a darker brown satin glaze and is 385 x 280 x 88.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Next is Pot No 290, a ever so slightly bowed wall rectangular pot with straight walls. Just enough bow to soften the form and support the tightly rounded corners. A nice light brown satin glaze; size 350 x 275 x 75.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 291 is a small rimless oval pot with a dark speckled glaze, actually beige breaking red brown. Size is 215 x 162 x 46 The glaze finish here is achieved by using a paint roller to apply the glaze.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 292 is another small rimless oval which is 240 x 185 x 50. The glaze is my new but old antique bronze.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 293 is another rimless oval at 260 x 185 x 55. It is glazed in a favourite beige breaking glaze also applied with the paint roller.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 294 is a long low rimless oval glazed in a surprise glaze. Testing showed a homogeneous brown but this time it emerged with a few depth colour changes and the iron oxide colourant showed with a slight olive tone. Size 370 x 285 x 52</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 295 is a small square rimmed oval at 260 x 200 x 52, glazed in an inky dark satin blue glaze.</span></div>
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<a href="https://2.bp.blogspot.com/-AJK6Ix0ryPg/WRFPRLjnmLI/AAAAAAAAE28/_c5HApFfvpkVTL-UpuvaK5drSIEZfjpQgCLcB/s1600/P1010863%2BPot%2B296%2BMay%2B2017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191" src="https://2.bp.blogspot.com/-AJK6Ix0ryPg/WRFPRLjnmLI/AAAAAAAAE28/_c5HApFfvpkVTL-UpuvaK5drSIEZfjpQgCLcB/s400/P1010863%2BPot%2B296%2BMay%2B2017.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 296 is a small rimless oval but this one has convex walls. It is 265 x 185 x 60 and is glazed in a slightly mobile beige toned glaze.</span></div>
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<a href="https://2.bp.blogspot.com/-jCx6lS_kfTA/WRFPPWrYmoI/AAAAAAAAE20/ikNSOm5YPCMAFc35TuLPJMDZpya_VbeBACLcB/s1600/P1010854%2BPot%2B297%2BMay%2B2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://2.bp.blogspot.com/-jCx6lS_kfTA/WRFPPWrYmoI/AAAAAAAAE20/ikNSOm5YPCMAFc35TuLPJMDZpya_VbeBACLcB/s400/P1010854%2BPot%2B297%2BMay%2B2017.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 297 is a rimless oval with lower bead. Glazed in another dark variant, this one with inky olive tones on the surface giving it quite a metallic look. Nicely proportioned at 320 x 230 x 64.</span></div>
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<a href="https://4.bp.blogspot.com/-zk5AVD9OQOQ/WRFPQFrxWtI/AAAAAAAAE24/gtMWgRLpBuc55FaBkyVl7iK7egzhH05ZwCLcB/s1600/P1010857%2BPot%2B300%2BMay%2B2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="https://4.bp.blogspot.com/-zk5AVD9OQOQ/WRFPQFrxWtI/AAAAAAAAE24/gtMWgRLpBuc55FaBkyVl7iK7egzhH05ZwCLcB/s320/P1010857%2BPot%2B300%2BMay%2B2017.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 300 is a round semi cascade with diameter 185 by 126 high.</span></div>
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-71001831125939996102017-05-01T13:58:00.002+10:002017-09-03T15:49:45.865+10:00Post 239 More pots more supports<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> I'm processing another 12 pots for the convention in May. This will be the last I make for a little while. 6 are glazed and sitting in the kiln waiting for a day when I'll be here all day and another 6 are bisqued and on the shelf waiting their turn.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> This picture is a tray of supports (props) ready to slip under the pots for their final glaze firing. </span><br />
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<a href="https://3.bp.blogspot.com/-xwUYafLjbEA/WQatSdp31GI/AAAAAAAAE14/N1LYXUBqSmQraKqx2v1OGWjMORSznQ3JACLcB/s1600/P1010793%2BSupports%2BApril%2B2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://3.bp.blogspot.com/-xwUYafLjbEA/WQatSdp31GI/AAAAAAAAE14/N1LYXUBqSmQraKqx2v1OGWjMORSznQ3JACLcB/s400/P1010793%2BSupports%2BApril%2B2017.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> When I'm making a pot I cut these supports to suit the feet depth and
place them under the pot floor as the pot dries. A sheet of newspaper is a good separator
between the pot and the props. To dry, the pots sit on a stack of newspapers sitting on a sheet of plaster board, to wick the moisture away from the depth of clay at the base - pot floor plus props.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> As part of my focus on eliminating
variation; when the pot has dried I scratch numbers on the props so that
when it comes time to use them in the glaze firing each one will be in
its right place. I use about 9 or 10 props per pot.They usually just sit in the pot or on the shelf for the bisque firing as the pots never move in that firing.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> I'm sure non of this is superstition, just the product of repetition and continuous improvement. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> My routine then for placing pots for the glaze firing is this:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Place the bisque pot on the shelf where it will be fired.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Run a pencil line on the shelf around the outside of the pot.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Remove the pot and place the props within the pencil line.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Glaze and place the pot in position on the shelf, guided by the pencil line.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Once I've glazed a pot the only place I want to put it down again is in the kiln. This minimizes any chance of the slightest bump of a pot, damaging the glaze surface before firing. If this happens repairing that little blemish, so that it can't be detected after firing, i</span><span style="font-family: "arial" , "helvetica" , sans-serif;">s not easy.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fixated perhaps but maybe just focused. </span><br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-62102665744186090932017-04-07T14:01:00.001+10:002017-09-03T15:49:37.190+10:00Post 238 New pots<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here is the latest batch of 4 pots.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have another 12 drying right now and these should move through the firing pipeline before mid May. Then with a healthy inventory going into the convention in May it will be time for a potting break. The last pot I made was number 300. When I started I couldn't imagine getting to 100 let alone 300. It must be nearly time to stop.</span><br />
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<a href="https://2.bp.blogspot.com/-LYCA0ZwxP6Y/WOcKZYCe6vI/AAAAAAAAE04/J9yY0A4dPdsweCcRzyyXYEI4NetoRdEHACLcB/s1600/P1010741%2Bpot%2B285a%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="https://2.bp.blogspot.com/-LYCA0ZwxP6Y/WOcKZYCe6vI/AAAAAAAAE04/J9yY0A4dPdsweCcRzyyXYEI4NetoRdEHACLcB/s400/P1010741%2Bpot%2B285a%2B-%2BCopy.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">First up is Pot 285 a large Bowed Wall Rectangular pot with a squared rim, lower rib and slightly concave wall. Satin brown glaze, size 385 x 280 x 88.</span><br />
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<a href="https://4.bp.blogspot.com/-qWx6671XyF4/WOcKbwMkoQI/AAAAAAAAE1A/cspbVi-4-6Ixq8KWsDRkW6Kb5Ho-TICeACLcB/s1600/P1010742%2BPot%2B285%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://4.bp.blogspot.com/-qWx6671XyF4/WOcKbwMkoQI/AAAAAAAAE1A/cspbVi-4-6Ixq8KWsDRkW6Kb5Ho-TICeACLcB/s400/P1010742%2BPot%2B285%2B-%2BCopy.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here is the same pot again. When I started making these BWR pots the walls had a greater curvature, like a section of an oval, with longer radius rounded corners. With the current group of BWRs I've flattened the bow and tightened the corners. This makes for more conventionally styled pots, albeit with a little informality from the wall shape.</span><br />
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<a href="https://3.bp.blogspot.com/-1Et00ZsrbMg/WOcKbJNqrlI/AAAAAAAAE08/8nwtm3cNEJw2-kM9WK8_JuCGXB6XOHEGQCLcB/s1600/P1010746%2BPot%2B286%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="161" src="https://3.bp.blogspot.com/-1Et00ZsrbMg/WOcKbJNqrlI/AAAAAAAAE08/8nwtm3cNEJw2-kM9WK8_JuCGXB6XOHEGQCLcB/s400/P1010746%2BPot%2B286%2B-%2BCopy.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot 286 is a little smaller and with vertically straight walls. Satin brown glaze and 350 x 285 x 80.</span><br />
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<a href="https://3.bp.blogspot.com/-ybsznbY3h9M/WOcKc3lpNQI/AAAAAAAAE1E/c3jRdgnaTVo3kNvwxgKS_ZlriPa62rCFACLcB/s1600/P1010747%2BPot%2B286%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://3.bp.blogspot.com/-ybsznbY3h9M/WOcKc3lpNQI/AAAAAAAAE1E/c3jRdgnaTVo3kNvwxgKS_ZlriPa62rCFACLcB/s400/P1010747%2BPot%2B286%2B-%2BCopy.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The same pot again.</span></div>
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<a href="https://4.bp.blogspot.com/-eo3Lgd9ZoUU/WOcKdwtZB7I/AAAAAAAAE1I/pw3b1j524JgliMR00fHL32YYfe64NOclQCLcB/s1600/P1010751%2BApril%2B2017%2BPot%2B287%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://4.bp.blogspot.com/-eo3Lgd9ZoUU/WOcKdwtZB7I/AAAAAAAAE1I/pw3b1j524JgliMR00fHL32YYfe64NOclQCLcB/s400/P1010751%2BApril%2B2017%2BPot%2B287%2B-%2BCopy.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The next one is a larger oval pot, Pot 287. This is the pot that I will be demonstrating the making of at the convention in May. It has a rounded rim and lower rib and a slightly convex wall. Size is Pot 287 370 x 285 x 80. When made in the raw clay, the made size is 425 x 320 x 92. So the length of the pot reduces about 55mm through the drying and firing. Its a big pot to make but not so big when finished.</span><br />
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<a href="https://2.bp.blogspot.com/-usTE1vxVxlk/WOcKfNeY23I/AAAAAAAAE1M/97-lrSWvs7Iu_RV4sk0u9_5IuYh180FOACLcB/s1600/P1010754%2BPot%2B288%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="167" src="https://2.bp.blogspot.com/-usTE1vxVxlk/WOcKfNeY23I/AAAAAAAAE1M/97-lrSWvs7Iu_RV4sk0u9_5IuYh180FOACLcB/s400/P1010754%2BPot%2B288%2B-%2BCopy.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The last one is Pot 288 at 315 x 240 x 60. It is rimless with a lower rib, in a very attractive lighter brown satin glaze.</span><br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-80028362526933916182017-04-05T15:50:00.001+10:002017-09-03T15:49:28.340+10:00Post 237 Growing moss - the whole farm<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The pictures of growing moss were popular so I though I'd post my real moss farm.</span><br />
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<a href="https://2.bp.blogspot.com/-0DUad6PaDf8/WOSDpERHaJI/AAAAAAAAE0g/D-IP6hCcjacUce_Kufmw87_Y6UPNSqP2wCLcB/s1600/P1010732a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://2.bp.blogspot.com/-0DUad6PaDf8/WOSDpERHaJI/AAAAAAAAE0g/D-IP6hCcjacUce_Kufmw87_Y6UPNSqP2wCLcB/s400/P1010732a.jpg" width="400" /></a></div>
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<a href="https://3.bp.blogspot.com/-7bfGFivxfFY/WOSDwrA4T3I/AAAAAAAAE0o/lY8_5UOQuyoFhL46lwKRkCyl1wtqm22BgCLcB/s1600/P1010733a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-7bfGFivxfFY/WOSDwrA4T3I/AAAAAAAAE0o/lY8_5UOQuyoFhL46lwKRkCyl1wtqm22BgCLcB/s400/P1010733a.jpg" width="337" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The seed propagation trays live in a shade house with about 50% shade cloth. They are there more for convenience than anything and available bench space. The moss might be happier actually with stronger light. But it does get watered as good as every day. That is something it can't do without.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Some of the trays have old potting media, some decomposed granite, it really doesn't matter very much, after all the stuff <a href="http://bonsaipotterycoy.blogspot.com.au/2017/03/post-335-growing-moss.html" target="_blank">will grow on a ceramic tile</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Note there are a number of different varieties in the trays. It's just what turns up. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">With the convention coming in May and 5 trees to go in the exhibition I'm very pleased to have this stock to call on. After the exhibition I'll just lift the moss off the pots and replace it in these trays for next time.</span></div>
Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com1tag:blogger.com,1999:blog-2327306149006121247.post-82186856650625876782017-04-03T16:03:00.003+10:002017-09-03T15:49:16.875+10:00Post 236 Updated sales page<div dir="ltr" style="text-align: left;" trbidi="on">
I've just updated the sales page and added about 15 pots made in late 2016 and this year. I've been building inventory for the May convention in Brisbane, so nice to see the number now available.</div>
Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-279410107844688072017-03-19T07:52:00.003+10:002017-09-03T15:49:06.629+10:00Post 235 Growing moss<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Growing moss seems to be one of the supporting tasks a lot of bonsai enthusiasts take on. When you need it, it can be hard to find, so often better to grow your own. I have a number of seed propagation trays filled with a gritty heavy mix which I normally use and the moss grows well as long as it has plenty of water and strong light.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As an experiment at the start of the summer months ago I pulled up a few pads of moss growing on the tops of some of my bonsai pots. I put these onto a glazed ceramic tile and placed the tile on one of my bonsai benches. The moss received many hours of direct sunlight every day and was exposed to the same watering as my trees - which has been twice a day in the heat of summer. Suffice to say the moss has thrived.</span></div>
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<a href="https://1.bp.blogspot.com/-QWTkGXSEQ9Y/WM2qamhtV9I/AAAAAAAAEyU/DmQvVOF9hjYhXMoHh24Xa5GCB5SWKSshwCLcB/s1600/P1010689%2BMoss%2Bon%2Ba%2Btile%2BA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="https://1.bp.blogspot.com/-QWTkGXSEQ9Y/WM2qamhtV9I/AAAAAAAAEyU/DmQvVOF9hjYhXMoHh24Xa5GCB5SWKSshwCLcB/s640/P1010689%2BMoss%2Bon%2Ba%2Btile%2BA.jpg" width="640" /></a><br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com1tag:blogger.com,1999:blog-2327306149006121247.post-61606730464421846232017-03-12T11:41:00.001+10:002017-09-03T15:48:55.917+10:00Post 234 New pots<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another post of recently fired pots;</span><br />
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<a href="https://3.bp.blogspot.com/-1Px2fEtuq2Y/WL93i5YCVtI/AAAAAAAAExU/YZV2cuiuIhMkBcOdQ_9dMJ5nv9pPlyJ4ACLcB/s1600/P1010672%2BPot%2B277%2BMar%2B2017a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://3.bp.blogspot.com/-1Px2fEtuq2Y/WL93i5YCVtI/AAAAAAAAExU/YZV2cuiuIhMkBcOdQ_9dMJ5nv9pPlyJ4ACLcB/s640/P1010672%2BPot%2B277%2BMar%2B2017a.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 277 is a small oval in satin brown glaze. Size 275 x 215 x 58.</span></div>
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<a href="https://4.bp.blogspot.com/-0rBpWbpOX4I/WL93iUmIeFI/AAAAAAAAExQ/qQBl11paMcUBHS9CLGVvLcHRufIscYOQACLcB/s1600/P1010658%2BPot%2B278%2BMarch%2B2017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="418" src="https://4.bp.blogspot.com/-0rBpWbpOX4I/WL93iUmIeFI/AAAAAAAAExQ/qQBl11paMcUBHS9CLGVvLcHRufIscYOQACLcB/s640/P1010658%2BPot%2B278%2BMarch%2B2017.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 278 is a semi cascade pot with a diameter of 125 and height of 185. The glaze is an attractive lighter brown with finely detailed speckling which breaks up the colour.</span></div>
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<a href="https://4.bp.blogspot.com/-TJiLM4EcuiU/WL93ffawF9I/AAAAAAAAExI/e01-HnR8Z2IrE3IQUhVXp4AT5e2OUp6KACLcB/s1600/P1010651%2BPot%2B279%2Bmarch%2B2017a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://4.bp.blogspot.com/-TJiLM4EcuiU/WL93ffawF9I/AAAAAAAAExI/e01-HnR8Z2IrE3IQUhVXp4AT5e2OUp6KACLcB/s640/P1010651%2BPot%2B279%2Bmarch%2B2017a.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 279, an oval 273 x 195 x 65 has convex fluted walls and is glazed in a 'cast iron' coloured glaze. Its a good simulation in both colour and and surface finish. This is a glaze I <a href="http://bonsaipotterycoy.blogspot.com.au/2012/03/post-10-glaze-trial-results.html" target="_blank">found and re-formulated years ago</a> but have never used on a pot - but will again.</span></div>
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<a href="https://2.bp.blogspot.com/-ajJiMFqm-90/WL93g2lz7uI/AAAAAAAAExM/P9dCQiaQze4QGenpxNmP6ie6qwecDTugQCLcB/s1600/P1010654%2BPot%2B279%2Bdetail%2Ba%2B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343" src="https://2.bp.blogspot.com/-ajJiMFqm-90/WL93g2lz7uI/AAAAAAAAExM/P9dCQiaQze4QGenpxNmP6ie6qwecDTugQCLcB/s400/P1010654%2BPot%2B279%2Bdetail%2Ba%2B.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a detailed shot of Pot 279</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 280 is another oval in a newer style, brown glaze, 330 x 245 x 62.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 281 is another new oval model with the glaze referenced in the last post A nice pot. 319 x 246 x 62</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 282 is a bowed wall rectangular pot, 357 x 245 x 80, with just the slightest of bow, and rounded corners. This is another new model which when executed with slightly heavier slabs holds its position nicely. With this model I'm getting back to a style of pot which was one of the first I made when I started with<a href="http://bonsaipotterycoy.blogspot.com.au/2012/03/glazed-stoneware-pots.html" target="_blank"> plaster press moulds</a>.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a front view of the same pot.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 283 is another in the style of Pot 281. This one executed in the same glaze as the semi cascade. 325 x 242 x 63</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 284 is a nice little convex walled oval in a breaking beige glaze. 267 x 190 x 60</span></div>
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-28411509302539646432017-03-08T15:54:00.001+10:002017-09-03T15:48:44.634+10:00Post 233 New pots for 2017<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Its been quite some time since I've posted pictures of new pots on the blog. And having set up to get some pictures, I now realize that there were a number of commission pots that were picked up hot from the kiln and I missed the chance for a picture. So there are a couple of gaps but all the pots here were fired in 2017.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The first is Pot No 268 a rectangular rimmed, bowed wall rectangular pot which is 360 x 250 x 80. Brown glazed including the feet.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 269 is made in the same pattern and came out to pretty much the same dimensions. This is a much used bronze brown glaze that breaks up into a range of tones depending on the glaze depth. Feet glazed as well, which is now a feature I follow pretty religiously for brown or darker coloured pots</span>.<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is an elevated view of Pot No 269 to show the shape.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I will be doing a potting demo up on the stage with Marc Neolanders (no pressure!) at the annual national AABC convention in Brisbane in May, so I've been busy hammering out some new pots for my trade table. I'm hoping to sell a few of my books and pots and might even hock a few trees.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I have been thinking again recently about the deformation that occurs in firing to vitrification. I'd like to be able to get my hands on some powdered and fully fired stoneware to add to clay for another set of deformation trials. Such a material is just not available in our market place. I recently sanded some bisque, collected the dust and fired the dust to completion. Then incorporated it 50/50 with some fresh clay to make a small billet to test. More on that later. From a material science point of view a heavier wall is stronger and less subject to bending, but how much? The answer is that any deflection is inversely proportional to the wall thickness cubed. That is if you double the thickness of a member it will deform one eighth (2^3) under the same load. So if you make a wall 20% to 25% heavier then any deformation might be reduced to around 50% to 60% (1/1.2^3) of the original wall thickness. On the basis of this observation I have decided to beef up the wall thickness of my pots by 20% to 25%. These 2017 pots show the impact of that decision and so far I am happy with the result.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is Pot No 270 is a new oval pattern and profile. It has a rounded rim and lower rib, both set more within the wall of the pot, with limited projection. Dimensions are 375 x 280 x 69. This makes for a more subtle impression but at the same time offers visual interest. The glaze on this pot is one from my second glaze trial series, out of 9 completed. I've used it a couple of times previously in <a href="http://bonsaipotterycoy.blogspot.com.au/2014/06/post-152-new-pots.html" target="_blank">2014</a> and <a href="http://bonsaipotterycoy.blogspot.com.au/2016/04/post-212-pot-sales.html" target="_blank">2016</a>. This time I took the iron oxide from 1% to 1.5%. It is a very pretty glaze - one I'd almost lost track off but will be using much more often. Most of my glazes are very well behaved and stay where they are put. This one shows just enough movement to break the surface. If I do say so myself, after 270 pots and five years, that this is one of the nicest pots I've made and will be reluctant to part with it.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Oval Pot No 271 was commissioned for a Melaleuca group planting. It is a simple unglazed oval at 375 x 290 x 63. The clay fires to a pleasant biscuit colour which should complement the paper-bark colour nicely.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 272, an oval pot, was made with the same mold and profile as Pot 270 above. It makes for an attractive pot. The dimensions are similar at 380 x 290 x 66. This light brown glaze has an ideal surface finish and great tone. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 274 is another oval pot but a little smaller at 325 x 240 x 60. It has a little more slope on the wall but the same impressed rim and rib detail. The glaze is another of my popular series 9 browns. When I glaze the feet I also do the inner visible surface of the feet so that when in use there is no sight of the lighter biscuit toned unglazed ceramic surface. This then carries the simulation of a dark clay made unglazed pot.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pot No 275 is a small oval with concave wall, rectangular rim and lower rib. An attractive design for a small pot in a darker brown glaze. 280 x 210 x 57.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The last one for this post is Pot No 276 a small simple oval pot. It is 240 x 182 x 50 and glazed in a nickel based glaze that sometimes is off-white and sometimes takes on a subtle green undertone. Its not called fickle nickel for nothing. A nice little very usable pot. More pots to come.......</span><br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-90419775989613776232017-02-02T15:02:00.001+10:002017-09-03T15:48:28.888+10:00Post 232 Sacrificial branches<div dir="ltr" style="text-align: left;" trbidi="on">
Every experience with sacrificial branches that Ive had has convinced me of their effectiveness. There are just a couple of tricks with them.<br />
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<li>First up is patience to allow them to get big enough to work.</li>
<li>Then not leave them on too long to leave a chop like transition.</li>
<li>Position them so that when removed the scar adds to rather than detracts from the composition.</li>
<li>Place the sacrifice for best effect, not too low and not too high. Or on a branch not at the end and not too close to the trunk.</li>
<li>And most importantly as they get bigger to balance the energy draw of the sacrifice branch and the tree so that the tree continues to be sustained and grows for development. The sacrifice branch will need occasional hard pruning to prevent it taking over.</li>
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Here are some examples I've got working at the moment; all on Natalensis ficus.<br />
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The plan for these first two is to produce small trees (currently about 120mm) with heavy trunks in a short time. These two are two years old.<br />
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This one is 4 years old and features in Bonsai Foundations. As you can see the sacrifice branch has been regularly pruned, usually to coincide with pruning of the tree itself.<br />
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Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-69149861146167395952017-01-23T13:34:00.001+10:002017-01-23T13:34:21.709+10:00Post 231 Trunk thickeningSix months ago I wanted to take a picture to support a description of the air layering process for my book, 'Bonsai Foundations'. So I cut a ring of bark from the sacrificial branch on a Ficus natalensis, also featured in the book. At the point of the incision it is probably 25 to 28mm diameter.<br />
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Here it is with the bark removed. After taking the photo I returned the ring of bark and bound it up with grafting tape. The branch never missed a beat and very quickly healed/sealed up the cuts. On the following photo you can see the cut site and the swelling that arose from the recovery.<br />
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I struck this tree from a small cutting in 2012. That makes it 4 years old. The sacrifice branch has made a big difference to the development of the trunk and taper.<br />
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This is a closeup of the site and you can clearly see the callus tissue that has formed in the cuts to seal it all up. It has produced an interesting swelling. Impact or penetration damage to a tunk has been known to result in swelling repair and this can be a useful way to address reverse taper.<br />
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This is the start of a new experiment further down the same branch. This time I'm cutting out a crown shaped piece of bark. Here it is cut around the edges.<br />
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This is the piece of bark removed.</div>
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And where it came from.</div>
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Here it has been returned.</div>
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And then finally bound up with grafting tape while it seals up and recovers. I'll post the outcome in a couple of months time. The experiment is to assess the value of doing this at ground level of a trunk with limited taper.<br />
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<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-3430357790776133342017-01-20T19:57:00.002+10:002017-01-20T19:57:53.356+10:00Post 230 Tree structure - UK Visit #3 - Low divided trunks<br />
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This is the third and last in this series of three posts on Trees in the UK winter. I've been reflecting on the structure of deciduous trees, looking at the range of variation in trunk division from high to low as in these sketches from 'Bonsai Foundations'.<br />
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This post shows a series of pictures of trees with low trunk division. These are all good authentic legitimate models for deciduous bonsai design.<br />
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<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-62221725680342192162017-01-19T14:39:00.000+10:002017-01-22T08:32:46.120+10:00Post 229 Tree structure - UK Visit #2 - Mid divided trunks<div class="separator" style="clear: both; text-align: center;">
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Here are some more trees from my UK trip, and the Bonsai Foundations sketch of various trunk division models.<br />
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When grown out in the open a tree does not face the pressure, proximity and competition of other trees and it is more likely to break out of the dominant single trunk model. This one has divided close to where the first branches emerge. It is almost a natural broom style except that the divided trunks divide further still. It has a nicely rounded canopy, shared by many branches.<br />
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This is one of the more attractive in this post set. It has complex ramification, great movement, fan architecture and a great rounded form.<br />
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In bonsai we take natural patterns and improve on them to create an idealized model. In this tree there are a number of visual conflicts in branch directions, if it were a bonsai. But if you visually filter out those distractions (two in particular) the balance of the composition with a divided trunk is an interesting useful model for authentic design.<br />
<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-61458245113361099892017-01-17T08:53:00.001+10:002017-01-17T08:53:29.020+10:00Post 228 Tree structure - UK Visit #1 - High divided trunksIn <a href="https://www.facebook.com/bonsaifoundations/" target="_blank">"Bonsai Foundations"</a> I discussed at length the matter of authentic structural design of non conifer bonsai, in particular the 'architecture' of branches and trunk. I looked at a variety of models existing in the natural world that should be embraced in bonsai design.<br />
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The first point to note is the 'fan' branch configuration from downwards around the lower margin to more upwardly inclined in the canopy, which prevails regardless of the trunk structure. This is also a pattern which is very prevalent with conifers.<br />
The second is the nature of the trunk, from dominant single trunk through to divided and where divided, the different levels of division.<br />
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In looking at trees these are the things to look for, to carefully observe.<br />
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In the book I created three sketches to illustrate the point. Here they are again.<br />
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I've recently been to the UK, in the middle of the northern hemisphere winter. The days may have been short and the weather cold and damp, but the trees were magnificent in their leafless state. <br />
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To start with a picture of a tree which follow the high divided trunk model of the sketch on the left.<br />
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But it is much more common in mature trees which are close to their maximum height to see the trunk divide further down the tree as in the second sketch.<br />
This first one is a great study of a deciduous tree's canopy. Its hard to see the rest of the tree but you get a sense of the fan branch configuration, with the lower branches closer to the horizontal plane. In the canopy the dominance of any one primary trunkline is diluted by the mass of fine branches with an upward inclination. As a model for bonsai this means that the canopy is shared and supported by many branches and because of their number none gains in disproportionate weight.<br />
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Here is another one with the upper division and a similar fan branch configuration. Note the three dimensional nature of the branch structure - there are no flat 'pads' anywhere. Also the number of branches from further down in the tree that go out and upwards each looking for a place in the canopy.<br />
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This is a nice study of a close pair of trees, one a beech, still holding on to its old leaves, and the other an oak. There are many aspects of design here useful to building authenticity into your bonsai, divided trunks, shared canopies, upward and outward branches etc.<br />
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<br />Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0tag:blogger.com,1999:blog-2327306149006121247.post-47349044197521414342017-01-16T11:55:00.002+10:002017-01-16T11:55:47.746+10:00Post 227 Swamp Cypress graft incorporationBack in September last year at the start of this growing season my Swamp Cypress trees took off after their winter break. The one in the pictures below produced an adventitious shoot in a place where I didn't want a new branch and under normal circumstances would have just removed it as a matter of course. But there was a branch gap just above where a little more branch density would add to the composition so I allowed the shoot to develop and wired it into a loop early to place the new branch where I wanted it..<br />
By late October it was ready to graft.<br />
I wasn't able to execute a full hairpin so went for something that was closer to an approach graft. I made a groove in the trunk about the depth of the scion diameter and shaped to match the U shape of the bend in the scion at that point. A nice tight fit makes for a faster union.<br />
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In this picture you can see where the shoot emerges from near the junction of another branch and the trunk. From there I took it up and around and under to bring the scion and trunk into the right proximity and orientation. I couldn't get a full 180 bend so went with an open U shape of about 60 degrees.<br />
By January the graft has taken well and the new branch tightly incorporated. As a half way house to full separation and removal of that loop I've cut a wedge out of it to diminish any contribution it is making. <br />
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Here is another picture from the side showing the tight incorporation of the scion and trunk. The join will be very neat in the future and it is placed at the rear of the trunk. By the end of this season the junction will have callused over and look quite natural. I'll take the loop out fully in another couple of weeks. The structural integrity of the graft junction makes the new branch quite secure.<br />
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So after about 2.5 months I have a new branch of the right proportions filling a gap that would otherwise take away from the composition. Fast, easy and a great result.<br />
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Inadequate branch density is a major failing of many bonsai, where they have been developed too quickly by simple styling of available material with limited cut and grow. See <a href="https://www.facebook.com/bonsaifoundations/" target="_blank">Bonsai Foundations on Facebook</a>Stephen Cullumhttp://www.blogger.com/profile/08975465487970199953noreply@blogger.com0