Here is an article in the Capital Gazette that I was interviewed for, along with other members of the Baltimore Bonsai Club.

Fit and trim: AACC Bonsai Club is about more than just tiny trees

Footage from the Tree Analysis Demo at the Sundamizu Bonsai Kai club meeting in Clearwater, FL. February 8, 2014

STEVEN MILLER INTERVIEW

This is an interview with me, done for a bonsai publication:

Q: When did you get your start in bonsai?
A: I got started in the art of bonsai way back in 1995. I was at a home and garden show with my late mother-in-law and saw a table full of these miniature trees and was instantly mesmerized. I took advantage of the vendors make your own bonsai and bought a book-Bonsai Special techniques Brooklyn Botanical Gardens. The mame article by Zeko Nakamura was really what got me hooked. I was involved in a serious car accident in 1997 and my collection of trees died except a ficus (which I still have). So fast forward to 2007 - spring time rolls around and I had an old bonsai pot sitting there taking up space and there was a red Japanese maple growing out in the yard that had been chopped a few times. The bug bit and I said to myself: I need soil. I went to my friend John Howle of Black Pines Nursery to get soil. He encouraged me to get involved with the Baltimore Bonsai Club and the rest is history.

Q: What do you love about it?
A: Bonsai, being a living art form, is appealing to me in so many ways - especially visually as I am an artist. Bonsai to me is therapeutic; it gets me closer to nature. It is a wonderful stress reliever and it gets me out of the art studio/dungeon.

Q: Do you have a personal specialty/favorite species of tree?
A: Absolutely. I go for the queen of bonsai the Japanese Maples. I love them. The problem is there are so many to love. Also, Shimpaku junipers. I don't care for the sticky junipers - I prefer scale junipers. I like yews, boxwood, and azalea.

Q: Who have been your greatest teachers?
A: Wow so many! John Naka, Saburo Kato, Yugi Yoshimura. Although I never got to meet them in person their books have taught me a lot. Jim Doyle, Frank Mihalic, Martha Meehan, Chase Rosade, Julian Adams, Arschel Morell, and Jim Sullivan are all of my local sensei. I learn everywhere I go and from everyone I meet. I get around so I've had workshops or seminars with Kathy Shaner, Ryan Neil, Peter Adams, Colin Lewis, Francois Jeker, Walter Pall, Pedro Morales, Rodney Clemons, Kunio Kobayashi,and the list goes on. I read a lot so Bill Valavanis is also a sensei to me. My friend George Wrede who lives 5 minutes up the street has been my best teacher through out my journey.

Q: What have been your goals during your tenure as president of the PBA?
A: My goals as president have been to promote the art and educate. I would like to see PBA have more of a presence in the bonsai world. We are custodians of the National bonsai collection. We have John Naka's Goshin in our back yard, yet I rarely hear club members talk about visiting the United States National Arboretum. I do not believe our presence is out there enough. I don't think there are enough educational programs either, but I work with a board of officers and a tight budget. Basically I'm all about education.

Q: How do you feel that your artistic abilities benefit you when styling bonsai?
A: I have an eye for seeing things design-wise others seem to overlook. I can visualize what I want the tree to look like and sketch it on paper to use as a blueprint. I understand composition, negative space, the golden triangle and other design techniques which really helps in the art of bonsai.

Q: Can you teach people to see what you see?
A: That's a trick question, but I can teach others to see things they weren't aware of before. Teach them to see things from a new or different perspective. To look at things artistically.

Q: If you had the ability to apprentice with anyone, alive or dead, who would it be?
A: John Naka.

Q: Do you have any tips for someone just starting out?
A: Find a local club, read books magazines, go to workshops, learn.

Q: What do you think is the future of bonsai in the United States?
A: American Bonsai...there are some really fantastic exhibitions here in the US and the trees just get better and better every year. I think bonsai has grown from its adolescent period to a more mature art form. Compared to other parts of the world I think for the limited time in which bonsai has been mainstream here we are doing just fine. Spectacular even.

FALL COLOR CHANGE

Bonsai, being a living art form, undergo seasonal changes making it an ever-changing canvas - especially in deciduous or broad-leafed trees. Autumn is one of my favorite seasons as my Japanese Maples put on a spectacular dazzling show of fall color. Summers green turns to brilliant reds, fiery oranges, dazzling yellows and rich purples. 

As daylight hours diminish and temperatures drop, hormones cause a transformation in leaf pigmentation. Chlorophyll, the green pigment in leaves, absorbs both red and blue light from the sun thus reflecting back the color green. Chlorophyll molecules are attached to the cell membrane in disc like structures called chloroplasts. Photosynthesis occurs here and the endothermic process transfers the light energy absorbed by the chlorophyll into carbohydrates - starches and sugars - that drive the bio chemical reactions that cause trees to grow, flower and produce seed. 

Chlorophyll decomposes rapidly in bright sunlight, and therefore during the growing season the tree is constantly synthesizing it. Other pigments present in leaves are carotenoids and anthocyanins as well as tannins in some species.  Carotene absorbs blue blue/green light and is a much more stable molecule than chlorophyll. Thus, when chlorophyll decreases in the leaf, the remaining carotene causes the leaf to appear yellow. Anthocyanins, unlike chlorophyll and carotenes, are actually dissolved in the fluid sap of the inner cell and the color exhibited is reliant on the sensitivity of the pH levels.  If the sap is very acidic the pigment will be a bright red color; the lower the acidity the color is more purple. Anthocyanin pigments are formed by reactions between sugars and certain proteins in the cell sap. 

The range and intensity of autumn colors is greatly influenced by the weather. Low temperatures destroy chlorophyll, and if they stay above freezing, promote the formation of anthocyanins. Bright sunshine also destroys chlorophyll and enhances anthocyanin production. Dry weather, by increasing sugar concentration in sap, also increases the amount of anthocyanin. Therefore, the brightest autumn colors are produced when dry, sunny days are followed by cool, dry nights.

Here is an excellent website devoted to the chemistry involved in fall color change: http://www.esf.edu/pubprog/brochure/leaves/leaves.htm

HOW TO CHOOSE A BONSAI POT FOR BEGINNERS

Choosing the right pot is not as easy as one would think. You must first ask yourself: “What kind of tree do I have?” All elements are important – is it deciduous or evergreen? Is it a young tree or old? What is the general style of the tree, formal/informal upright, semi-cascade, cascade, slant, windswept, or a group/forest planting? Is it femininely styled, or masculine? Is it a flowering tree? If so, what color are the flowers? Is it fruit –bearing? What color is the foliage? All of these things have some bearing on what color, shape, or texture pot you would choose to show your bonsai in.

A bonsai pot contributes to the composition and completes the overall image of your bonsai tree. If you choose well, it can strengthen the design of your tree. A pot that is unsuitable for the tree that you plant it in can lessen the tree’s impact. Depending on whether you choose a factory made Chinese or Korean pot or one from a potter who creates more diverse designs, a handmade bonsai pot can also be a pricey investment, giving one even more incentive to get it right the first time.

There are so many choices out there, different colors, designs and sizes; it’s hard to choose which combination will work best for your tree. Add that to that the fact that there’s no completely “right” answer, as the choice is subjective and depends a lot on your personal preferences. You may prefer more conservative shapes, textures and glazes while someone else may prefer more unconventional ones.

Your first consideration should be the dimensions of the pot needed. There are some basic rules for choosing the correct dimension according to the dimensions of the tree itself.

1. Generally, the pot depth should be equal to the diameter of the trunk measured just above soil level.

2. If you are using an oval or rectangular pot, the length of that pot should be 2/3 the height of the tree.

3. If you are using a round pot, the diameter of that pot should be 1/3 the height of the tree.

4. If your tree has a wide canopy, a wider pot may be necessary. If that is the case, you can compensate the addition of width with a more shallow pot. 

5. Conversely, a tree with a thick trunk in comparison with the height of the tree, might need a deeper but more narrow width pot.

Next to consider would be the shape of the pot. This is decided by looking to the characteristics of your tree. Since the pot needs to harmonize with your tree, deciding if the tree has more dominant feminine or masculine features is necessary.

A masculine tree will give an overall impression of strength. A heavily tapered trunk, craggy bark, strong angular branching, a straight, powerful trunk or a dense canopy are all characteristics of a masculine tree.

Example of a masculine, rectangular pot. Notice how the panel and the feet add to the masculine appearance.

A feminine tree will have a more delicate appearance – smoother bark, graceful flowing movement in it’s trunk and branches, a slow taper and a lighter canopy are characteristics of a feminine tree.

Some tree species are predisposed to feminine or masculine characteristics. For example, most pines and hawthorns are often considered naturally masculine while delicate Japanese maples will be considered as naturally feminine.

Example of a shallow, feminine pot

You can also have a heavily tapered Japanese Maple with delicate leaves and branching that would be called masculine with feminine features or a tall Hawthorne with rough bark but gentle curves and a gradual taper that would be considered feminine with masculine features. With trees such as these it will be necessary to identify the strongest features – the ones that have the greatest visual impact – and choose a pot that complements them. Fortunately it’s possible to find designs that reflect both masculine and feminine qualities.

Typically, a rectangular pot is masculine, but this pot has a flare to it, and cloud motif feet that make it suitable for a masculine tree with feminine traits.

Pots that are considered masculine have strong angular features, such as chunky, deep, rectangular pots. These are the most masculine of pots and they are best suited for heavy trunked masculine trees, especially conifers. If you have a thick-trunked deciduous tree, the corners of the rectangle can be rounded to compensate for the inherent femininity of deciduous trees. Next in line in the scale of masculinity are deep chunky ovals, and then come drum/round pots that are suitable for both masculine and feminine trees.

Feminine pots are shallower with softer lines. Included here are shallow delicate ovals and very shallow round and literati pots.

An oval pot would usually be classified as feminine, but the lip on this one, the feet, and the line around it give it masculine qualiities.

Basic pot shape guidelines are as follows: 

1. Rectangle pots are good for coniferous species and large deciduous trees with a pronounced taper, wide base, and a heavily thickened nebari. They add to the feeling of strength in the tree. 

2. Oval pots are best for reflecting the femininity of deciduous trees, clump style bonsai, groves and forests. Less taper and sinuous curves dampen the masculinity of a tree. 

3. Round post are suitable for feminine trees, particularly for literati or bunjin style trees. Tall and straight or sinuously curved trees with very little taper are the most feminine and look best in very shallow, round pots.

Other parts of the pot can help to add to the feminine or masculine qualities of the tree. A lip on the upper rim of the pot gives additional strength to a masculine tree, whereas a straight rim is softer or more androgynous trees and a bowl or convex side is more suited to feminine trees.

Sharp, right-angled corners are suitable for masculine trees while indented corners on a rectangular pot can soften the masculinity of that pot. Rounded corners soften the pot even more, making it look more like an oval more suitable for masculine-traited deciduous trees. Chunky panels pressed into the pot make it more masculine.

The main purpose for the feet of a bonsai pot is for drainage and airflow, but depending on the style of the feet, they can also be used to change the appearance of the pot. They can be soft and subtle and decorative, or strong and robust. If the feet are big and chunky, it adds to the strength of the design, whereas delicate feet will have the opposite effect. For the most part feet with the cloud motif are considered feminine and smooth plain feet are masculine in appearance.

Color and texture are also very important when choosing a pot. Although there are generalizations made about a particular species, each tree will have something different to pick up on, something unique that lends to the design. Those differences can be brought out with color and texture.

You can use color to complement the bark or the fall color of the leaves, or color of the flowers or berries.

This pot below would work for an old, white-flowering azalea. The lip would show off the strong nebari, and the flowers will fit well with the old looking green glaze. The colors mean freshness and purity, and the cloud feet emphasize the feminine character.

It will take some experimentation to see what you find works best for you, but these are basic guidelines when choosing a pot for your tree. There are exceptions to every rule so don’t be afraid to experiment and try new things to find what you like. After all Bonsai is an art form to be appreciated and if it makes you happy, then that’s what really matters. There are so many facets and aspects to Bonsai Pottery that I would say this is the first of many articles to come pertaining to this subject matter.

"TURTLE" REPOT - A PHOTO ESSAY

Bonsai need to be repotted periodically if their health is to be maintained. Mike Ramina's "Turtle", a 1500 + year old Ponderosa Pine needed repotting in the spring of 2011, and Senpai George Wrede and I lent a hand in putting some new soil under the old pine roots. It was an honor and a privilege to work on such a mighty, old specimen bonsai. Here are a few photos of our endeavor.

The "Turtle" pulled from the pot.

Trimming the roots

Preparing the new soil.

Placing the pine back into it's Tokoname container.

Wiring the tree into the pot.

Working in the new soil medium with chopsticks.

The finished, repotted tree before wiring.

Ryan Neil Interview from 5/9/2011

Ryan Neil grew up in the rocky mountains of Colorado. He spent 6 years studying in Japan under the guidance of the Magician Masahiko Kimura. Ryan has returned to the States and now resides in Oregon. I had the pleasure of meeting Ryan at Nature’s Way Bonsai on May 9, 2011. The following is a brief interview with the new master.

SM: So how do you like being back in the US and traveling around the country doing demos and workshops?

RN: How do I like it? I like it. I love it! I love being home. It was a tough adjustment at first, to come back to the United States because after 6 years, a lot had changed…but ultimately I’m an American at hears, so being back in the United States is a good thing for me.

SM: So do you miss being in Japan?

RN: No.

SM: No?

RN: No, I don’t miss being in Japan.

SM: Would you like to go back to visit?

RN: I would like to go back to be reminded of the things that were valuable about my apprenticeship, but the thing that people don’ understand about being an apprentice is it’s not fun, and my time in Japan wasn’t enjoyable. I was there to learn bonsai; every day was dedicated towards that, and now I’m trying to take that and apply it to my life here, so…My time in Japan wasn’t fun time and my feelings about that are more or less associated with what I went through and not the good times that I had.

SM: Gotcha. So what was the greatest lesson you learned while you were studying there?

RN: Greatest lesson – how to think.

SM: How to think.

RN: Mr. Kimura used to always tell us that you can do anything that you want if you learn how to think, and so more than teach us how to do bonsai he taught us why we were doing what we were doing. He taught us to use our heads, to figure problems out before  we ever encountered them, taught us how to think about the fundamental reasons behind the techniques and the things that we were doing through to the trees.

SM: So the whys and the hows?

RN: The why.

SM: Gotcha.

RN: The why. If you know the why, you can figure out the when, where, what and how.

SM: Gotcha. Any cool tricks of the trade that you would like to share?

RN: Cool tricks of the trade…

SM: Other than the callusmate? Which I am definitely going to check into.

RN: Cool tricks of the trade? You know, as far as I’m concerned, there aren’t a whole lot of tricks in bonsai. Bonsai is a very fundamental thing. It’s a matter of understanding what you’re doing and why you’re doing it that allows you to develop tricks. The only trick that I would have to show somebody is how to fundamentally style a branch, how to fundamentally wire a tree, how to fundamentally water, how to fundamentally re pot. Those are the only tricks I’d have to show anyone.

SM: Excellent. Where do you see yourself in, let’s say, 10 years from now?

RN: Ten years? You know, when I came back from Japan, I really debated whether or not I should consider where I’m going to be in 10 years, or what I’m striving to achieve in 10 years, and I've sort of realized that regardless how much I think about that it’s hard to really grasp what’s really going to happen with bonsai in the United States in that period of time. I hope – I hope in 10 years that bonsai has grown to the point where professionals can comfortably make a living and pursue creating excellent art. I hope that people develop and appreciation for the skill that others have really gone out of their way to learn and become proficient at, and I hope that at some point it’s something that people value. I hope that Americans take it upon themselves to dedicate their attention towards learning and improving their technique and ability to care for trees, but where it’s going to go, I really don’t have a clear vision of that in the future.

SM: One last question. What are your thoughts on grafting Shimpaku branches onto say like a Hollywood or a California Juniper?

RN: I don’t have any qualms with trying to improve the quality of a tree, so as opposed to saying ‘this tree is a natural tree, and I’m not going to graft on it’, I would never take that stance because if we’re trying to create the best tree, the best art, the best product possible, sometimes we have to expedite the process or improve the quality and characteristics of the material that we’re working on. However, I think that our native species, western species, collected from the mountains, the Rocky Mountain, the California, the Utah, the Sierra Juniper? I think that there are techniques  and I think there are methods of cultivating trees that will enable us to maximize the potential and quality of the foliage that they DO possess. So as opposed to just simply referring to and depending on Japanese cultivars of foliage to create good trees, I hope that people in the future are willing to dedicate more time and attention, and have a bit more patience when learning how to manage our western species.

SM: I agree. I agree.

RN: So, that’s one thing that I’m really spending a lot of time trying to do.

SM: Well thank you very much.