I like this tree. About the roots, I think that ultimately they should be left uncovered. I would be inclined to force them back closer to the trunk with a bit of wire or raffia until they are set. If you want more mass there, it is very easy to approach graft 1 or 2 year seedlings onto the existing roots.
Corker with Exposed Roots or Without?
- Thread starter fredtruck
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fredtruck
Omono
I like both the new red unglazed and the previous blue drip melon pots. However, both attract most of my viewing attention instead of the tree. I wonder what a melon pot of some dark hum-drum color would do for it - something that makes the foliage the primary color. Would 'the eye' then be drawn to focus more on the cork?
I don't know. Those are very hard questions to answer with certainty because it's subjective. Whenever I choose a container, I know it's a risk because different observers see the whole composition differently. I took this picture right after I rubbed the pot down with walnut oil. The pot itself is not glazed and the oil makes it look glazed, so in this instance, I admit the image is somewhat misleading. The red is a lot duller after the oil dries. I should have waited to take the picture.
fredtruck
Omono
Here's a virtual I did on December 7, 2016. The container here appears more like it does in every day situations. Osoyoung, this may not correct the situation for you, but I'm trying to show the pot more like it actually is.
0soyoung
Imperial Masterpiece
That is much better for me, Fred.
Leo in N E Illinois
The Professor
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Nice, great progression, none of my corkers look this good yet. So take my following comments with the fact in mind that mine are not as good as yours.
I would have buried the roots even more, you still have a volcano, just a smaller volcano, the tree is still perched on a mound. Media should be level and slightly below rim of pot. You almost got it low enough, but it needs to go a touch lower.
Over time I'd move it to a different pot. The red, even muted is too bright, too red. I recognize the root ball may require serious work, possibly in stages to get a lower, flatter root system. Eventually I'd like to see it in a conventional rectangle, unglazed in a muted dark brown or raven gray pot. If terra cotta red, it needs to be dull.
I agree that it is okay to use glazed pots with any tree, I would in that case go with an off white, a gray white toward a raw sienna, or yellow ochre. Goal would be to contrast with the trunk, not match it with a glazed pot.
Or frame the trunk by having the glaze contrast and highlight the foliage, in which case a blue would be the direction I'd go. The glaze on your blue & green pot is a pretty good choice, if it were a lower than current rectangle.
I would have buried the roots even more, you still have a volcano, just a smaller volcano, the tree is still perched on a mound. Media should be level and slightly below rim of pot. You almost got it low enough, but it needs to go a touch lower.
Over time I'd move it to a different pot. The red, even muted is too bright, too red. I recognize the root ball may require serious work, possibly in stages to get a lower, flatter root system. Eventually I'd like to see it in a conventional rectangle, unglazed in a muted dark brown or raven gray pot. If terra cotta red, it needs to be dull.
I agree that it is okay to use glazed pots with any tree, I would in that case go with an off white, a gray white toward a raw sienna, or yellow ochre. Goal would be to contrast with the trunk, not match it with a glazed pot.
Or frame the trunk by having the glaze contrast and highlight the foliage, in which case a blue would be the direction I'd go. The glaze on your blue & green pot is a pretty good choice, if it were a lower than current rectangle.
fredtruck
Omono
I like both the new red unglazed and the previous blue drip melon pots. However, both attract most of my viewing attention instead of the tree. I wonder what a melon pot of some dark hum-drum color would do for it - something that makes the foliage the primary color. Would 'the eye' then be drawn to focus more on the cork?
This is a good question. I've been thinking about it since you asked.
Since color is so subjective, it's difficult to answer the question. I will say that this tree works best when the needles are short, because more of the cork can be seen. In early spring, the needles have the most attractive color, and for me, anyway, that seems to balance the red pot. But, since the cork is so eccentric on this tree, I'm hoping that it will be the focal point no matter what the color does.
In this picture, the trunk and branches appear quite a bit darker than usual. That's because I took the shot right after a rain storm, and the tree was still wet.
fredtruck
Omono
Based on a perception from MACH5, who thought the apex of this tree was facing the wrong way, I decided to try to change its direction from facing right to facing left. Looking at the tree, I saw a way it could be done, but it depended on the flexibility of the corked branches. The Ondae species of cork bark Japanese black pine is a rare one. It has a large proportion of cork relative to the actual black pine wood. This allows it a longer period of flexibility than other corkers. Eventually, though, when the cork finally sets, the flexibility is gone.
It was a little more difficult than I thought it would be, but I was able to rearrange the branches so the apex faced left. This gives the Ondae more stability visually than it has ever had.
In a couple of cases, I had to settle for less bending than I needed, but I found if I came back in a couple of days, I could complete the job.
It was a little more difficult than I thought it would be, but I was able to rearrange the branches so the apex faced left. This gives the Ondae more stability visually than it has ever had.
In a couple of cases, I had to settle for less bending than I needed, but I found if I came back in a couple of days, I could complete the job.
fredtruck
Omono
A few days over a year ago, this is where I am with this tree.
Brian Van Fleet
Pretty Fly for a Bonsai Guy
Well, are you happy with it? The base is looking more solid, which I appreciate.
It looks like you have removed last year’s needles, which will really reduces pruning options if you want to compact the tree. I try to keep some 1-year old needles on my pines at all times so I can cut back to them later and create shorter internodes. If you disagree with this, don’t read on.?
Corkers are tricky, because some will respond to summer candle-cutting with new growth like their standard JBP counterparts, and some will respond only with setting buds for next year at the cut sites. The former will produce shorter internodes and shorter needles, while the latter will only shorten internodes between where last year’s growth was removed and this year’s growth starts; but the needles will still grow long next year. That’s my complaint with corkers.
From where this tree sits, not much of anything more can be removed this year. I know we have discussed the philosophy of your techniques in the past, and you are using a method that you got from Naka, but it’s either outdated, or being misapplied. If you’re happy with your results, great, but if you scroll back through this thread, the tree has become weaker and leggier through the years. The photos don’t suggest anything different, 2015 and 2018:
It is common that someone will get their JBP to a place where they only have current-year needles. This is like painting yourself into a corner, and it’s hard to see a way out. The way to break the cycle is to let it finish the current growing season. No touching.
Let it grow wild in year 2, no touching until fall. In the early fall of year 2, the tree will have produced some secondary buds among the needles left from year 1. On each branch, find the bud that is most proximal to the trunk, which still has some needles between the bud and the trunk, and prune back to that bud, but do not remove any more needles than those you pruned away. Those buds should continue to enlarge during the fall, but not open.
https://nebaribonsai.wordpress.com/2014/11/08/when-not-to-candle-cut/
Year 3: Let those buds fully extend as candles in the spring and produce needles. In June/July of year 3, you can resume summer candle cutting. In the fall of year 3, remove all needles that are left from year 1, they should be yellowing by late summer. Remove some of the needles left from year 2, but only the big ones, damaged ones, and the ones that point down. Leave all year 3 needles until late fall/winter, at which point you can reduce the number of year 3 needles on the densest places to establish good balance. Leave 10-12 pairs of year 3 needles on all shoots, maybe more in the lower and interior branches, and maybe fewer on the apex. These year 3 needles are what remain on the tree when you perform summer candle-cutting in year 4.
https://nebaribonsai.wordpress.com/2014/11/22/fall-balancing-act-with-japanese-black-pines/
Year 4: repeat year 3, and the cycle should be corrected.
fredtruck
Omono
I am happy with parts of it. Actually, I did let it grow wild last year. I do, however, see your point. This year, I didn't candle cut at all. In almost every case, candles came in 3s. One strong central candle, and 2 small ones on either side. In most cases, I just broke off the strong central candle. I don't use Naka's method any more, but what I'm doing now has made the tree leggy, I agree. Thanks for taking the time to lay out a plan.
Gurudas
Mame
Thanks for the link, Fred. It’s very helpful
fredtruck
Omono
A month and 3 days after the post I made above, I took this picture of the Ondae. It has filled in very nicely. The needles are between 2 and 2.5" long.
fredtruck
Omono
Here are a couple of pictures that show details of the cork of this tree I think are interesting.
This picture shows cork detail where the back branch shoots off the trunk. In the "armpit" area, is some nice obi sash cork. This next picture was taken 90 degrees counter-clockwise from the preceding picture.
This picture shows the falling branch and the cork that forms it. I'm showing it because there are so many details on the Ondae, and so many different views possible that don't play into the front and what's visible from it. Additionally, I want to point out that with this tree, I wire it, but the wire is applied loosely, except in key pressure points.
This picture shows cork detail where the back branch shoots off the trunk. In the "armpit" area, is some nice obi sash cork. This next picture was taken 90 degrees counter-clockwise from the preceding picture.
This picture shows the falling branch and the cork that forms it. I'm showing it because there are so many details on the Ondae, and so many different views possible that don't play into the front and what's visible from it. Additionally, I want to point out that with this tree, I wire it, but the wire is applied loosely, except in key pressure points.
fredtruck
Omono
Thanks for the good words, AZbonsai.
I can only speak for the corkers I've worked on, which include Ondae, Mi Nishiki, Hayabusa, and Akame. No problems with those.
I can only speak for the corkers I've worked on, which include Ondae, Mi Nishiki, Hayabusa, and Akame. No problems with those.
fredtruck
Omono
A lot of people say that. It is a cascade pot, but sometimes you have to change things up a little due to circumstances. This Ondae was about 10 years old when I bought it in 2010. It had spent all its life in a nursery can. One of the things about cork bark Japanese black pines is that they are relatively intolerant of root work. Some authorities say cork bark JBPs are weaker than the species. Some say some cultivars are as strong as the species and some aren't. My Ondae had a very developed root system with many thick roots. The best thing to do from my point of view was to get a deep pot. I realize that many bonsai people would have taken a lot of roots off but everything I read about corticosa pines suggested that would not be a good plan. The tree seems to like my solution.
Additionally, the Japanese "shallow pot" image is not the only standard. I have a book published in Hong Kong in the early 60s. There are many cork bark JBPs in it, and quite a few of them have deep pots.
Additionally, the Japanese "shallow pot" image is not the only standard. I have a book published in Hong Kong in the early 60s. There are many cork bark JBPs in it, and quite a few of them have deep pots.
fredtruck
Omono
This is the end of the summer's developments with this tree. I've made many small changes, mostly involving bends and some pruning. That's it for now.
fredtruck
Omono
Today, here's a picture showing thinning I did on this tree. As far as JBP go, I didn't do much thinning. I'm cautious with this tree. I actually have done no thinning in the apex area.
