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Vance Wood

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This is going to be a much shorter response than I had intended, since the site timed me out while I was composing it and I lost it.

Will, you did nothing more than set up straw men to knock down. No one suggested that people buy stock beyond their means or talent. No one suggested that preworked bonsai stock was the only way to go.

I do not believe that prebonsai nursery stock is the only or even best way to practice bonsai, I just think it's better than regular nursery stock because it obviates the need to spend so much time fixing bad roots or overcoming a lack of movement or whatever. Remember that yamadori came first. My guess is that Americans first started using nursery material for only one reason: there was really nothing else available. Especially here in the midwest where we have no mountains for juniper or pine, or swamps for buttonwood or bald cypress, collecting is reduced to some bare probables and urban collecting, which I have done and enjoyed.

There are a great many ways to go about doing bonsai. We have a retired doctor in the local club who buys workshop trees, or has in the past, and basically refines them through the years. We have another doctor who used to collect some of the finest trees in the U.S. and not display them. Some of them have gone on to the Huntington collection and Golden State and perhaps other great collections. Some of us have gone to the mountains to collect, a 12 hour drive and a written permission slip from the National Forest Service which was pretty much ended when the wildfires in Colorado rained on our parade.



I read this thread at Art of Bonsai about six or seven times in response to your comment, Behr. Vance, this is perhaps the most thoughtful post I have ever read on any forum. You really made me think. I'm not much for wabi and sabi because no one has ever satisfactorily explained them to me, most just parrot what Herb Gustafson or someone wrote about them. But your explanation of "kami" made me think.

Then I read and reread the paragraph Behr paraphrased. You have opened my eyes just a little wider. Right now in my collection are prebonsai stock I am working on (with the last two years being a painful exception to the work part) and a few collected trees, as well as seedlings I have been growing myself. But to look at nursery stock as if it were yamadori...well I might just have to go nursery diving this spring. Don't know that I will pick anything up, but it could happen.

Vance, I know we have had our difficulties, fed by both of us. For my part, I am sorry I ever let myself get out of control in those disputations. But they have never been about what you have accomplished so far in your bonsai adventure. I disagree with certain old school attitudes you promulgate, and this is one of them. But no one has looked down on you because you haven't studied with a master. That is entirely your own construct. I won't try to psychoanalyze it. My difficulty with your position is not the use of nursery material, I have only made one simple point: that it's wrong to suggest that using cheap nursery stock is the best way to learn and practice bonsai. Doing so limits you in so many ways. Personally, I'd love to see what you could do with a really fine piece of yamadori. I think you would quickly eclipse anything you have produced so far. Just my opinion.

Thank you Chris for the kind words. I'm glad the article talked to you, it has been an ephinany for me to go in this direction. I too am sorry we have been at odds. Mostly because we are both stubborn in the things we believe, so we'll get over it eventually and bonsai will rule.
 

Bonsai Nut

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This is going to be a much shorter response than I had intended, since the site timed me out while I was composing it and I lost it.

Sorry about the timeout Chris. It is currently set for 15 minutes of inactivity. I would recommend if you are posting something that would take longer than 15 minutes to write, that you write it in a word processor first, then cut and paste it. Typically if you are creating that much work in one session I would recommend that you periodically save it in progress (take it from someone who has lost plenty of work in the past).
 
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Pre-bonsai, raw stock, nursery stock, collected stock, all have one thing in common, it can be good or it can be crap. What really matters is the talent of the person working on the stock. Trust me when I say that a person with real talent can do far more with a Home-depot tree than a person with little talent could do with a $10,000 piece of pre-bonsai stock imported from the finest gardens of Japan.

What matters is the talent applied to the best stock available. Bring Kimura a piece of crap stock and he will let you know about it!

To tell a person that hasn't yet refined their talent to go out and buy a advanced piece of quality stock borders on the insane, it would be like telling a person who is just learning how to paint to paint on the most expensive canvas money can buy. This would be foolish, to say the least.

While we are on this comparison, a piece of stock is the canvas that we use to create artistic bonsai, nothing more, nothing less. A talented artist can create on even the cheapest canvas, the Mona Lisa is painted on a board, for example, and not the finest canvas available at the time. Why? For the same reason many aspiring bonsai artist use inexpensive stock, it's affordable.

To put a finer point on your metaphor, the tree is not just canvas, it is canvas and paint for the bonsai artist. Any art teacher in the world will tell you exactly what I am saying: get the best paint and brushes and cavas you can afford. Your work will be easier and your talent can do more with it.

Just because someone is working on a collected tree from the highest mountain or a purchased pre-bonsai which is ready to be painted by the numbers, doesn't mean they will create better, more visually pleasing bonsai, no in fact, they will create only what their talent will allow them to.

I can't remember a piece of prebonsai nursery stock anywhere that could be likened to paint by numbers. In fact that puts the lie to your first statement, that it's only the talent that matters.

The only reason a novice should buy quality stock is to learn refinement, and that means something that is a lot further along than "stock" because "stock" is not even close to refinement.

That's the only reason a novice should by advanced stock. Quality stock can be at any stage of development, check out Brent's offerings. Your circular reasoning is a thing to marvel at. You set the premise that x is the only reason, therefore "stock" won't work because it isn't "x."

The disservice that is being done to bonsai is telling novices that they must buy material that is beyond their means, beyond their talent, and beyond their understanding, not suggesting that they should start out with and look for quality nursery material.

Building straw men to point up your pride in finding the cheapest material available is fine as long as everyone knows that's what it is.

In this issue of the American Bonsai Society's Journal (in the mail now), I have an article on collecting from nurseries in which I have some pictures of the stock I purchased from local nurseries. I challenge anyone to show me specialized bonsai nursery material of the same quality for the same price.

Same quality, same price? What kind of comparison is that. Frankly, I have that issue. I wasn't very impressed.


The smart bonsaist buys where the good stock is and where the price is, as much as I support America's bonsai industry, the golden rule of business is that you have to be competitive, do not expect us to shop at your place of business based solely on the fact that your shingle has the word "bonsai" on it.

Prebonsai stock is not cheap nursery material. A is not B. Therefore your argument is meaningless. Compare bonsai nurseries and find the ones with the best material at the best price. That might mean something.

There are three bonsai shops within driving distance of me, I frequent all three because not one of them carries everything I need. I also shop at local nurseries, on-line, and at club sales or auctions. What I wouldn't give for a one stop shopping place, but even Walmart fails there. Strangely, the best stock I can find comes from none of the local bonsai shops, but instead from the local run of the mill, mom and pop nurseries. When I do see a halfway decent piece at a bonsai shop, the mark-up turns me off, not that I can't afford it, but that someone would think the word "pre-bonsai" is worth a 600% markup or more.

When you say 600% markup, do you mean their profit margin? Do you know what they paid for the tree? What they have invested in plant, care, water, etc.? Or do you mean it costs six times as much as your one gallon nursery mugho?

As to pre-bonsai, that is a matter of personal opinion and mine is that I prefer all the work to be my own. Give me raw, rough, naked stock! ;) (A grower at heart)
Will[/quote]
 
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For the record, I have seen many of Walter's progressions, I can't remember one in which he started with pre-bonsai.
Will

For the record, you have never seen one starting with cheap nursery stock either, have you?
 
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Nor did I say that anyone here suggested it. The point I was making and the point I still stand by is that the origin of the stock makes absolutely no difference what-so-ever. It is the quality of the stock that counts. To suggest that nursery material is inferior simply because of where it was purchased, makes no sense at all.

Once again, read my posts. I never suggested that nursery material is inferior because of where it is purchased. I think most nursery material is inferior for some very specific reasons that may or may not be able to be overcome. I think you need to overcome your pride of ownership in having the oldest, cheapest, still running Ford Aspire ever built.

I also think it is a mistake to recommend expensive stock to a beginner, someone who hasn't even mastered basic techniques needed to make a bonsai thrive and not die after a couple of years. Advanced stock can teach refinement, cheap stock can teach the skills needed to bring the advanced stock to such a stage.

I don't recommend that a n00b buy expensive trees any more than I recommend they buy the best tools money can buy. But for the person who has decided that bonsai is where they belong, I say, buy the best of both that you can afford.
 
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Get the best paint and brushes and canvas you can afford. Your work will be easier and your talent can do more with it.

/Emil, Sweden
Art teacher
 
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Get the best paint and brushes and canvas you can afford. Your work will be easier and your talent can do more with it.

/Emil, Sweden
Art teacher

I wonder if the Mona Lisa would have been better if it was painted on canvas instead of a board?
 
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Once again, read my posts. I never suggested that nursery material is inferior because of where it is purchased. I think most nursery material is inferior for some very specific reasons that may or may not be able to be overcome. I think you need to overcome your pride of ownership in having the oldest, cheapest, still running Ford Aspire ever built.
Nor did I suggest you did.

By the way, I have no idea what you are talking about in reference to automobiles nor where it came from, or what it has to do with the subject at hand, drive your Aspire, if you like it, I'll stick to my Ford trucks, thank you.



I don't recommend that a n00b buy expensive trees any more than I recommend they buy the best tools money can buy. But for the person who has decided that bonsai is where they belong, I say, buy the best of both that you can afford.
Nor did I say that you did.

What I said, once again to make it perfectly clear, you can not judge the quality of stock by where it was purchased.


Will
 
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For the record, you have never seen one starting with cheap nursery stock either, have you?

You can not judge the quality of stock by where it was purchased or how much it cost. Discrediting stock because of where it was bought or the price paid is silly. It matters not where it came from or what it cost, good stock is good stock, period. No circular reasoning at all Chris, just plain old simple logic, you need not be a genius to understand this, although not being one may help, it would seem.

I'll say it again, a person with talent can do far more with a mediocre piece of stock than a person with no talent can do with a great piece of stock. Forge your talent on less expensive stock (this does not translate as poor stock) where there is no great loss if you spoil it or if it dies on you in a few years, once the basic horticultural skills and design skills are obtained, go for the world-class stock.


Will
 
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Paintings are made in many media and on many surfaces. Wood panels support some of the most beautiful paintings made, as do plaster walls and canvas surfaces.

You can only judge the quality of stock by its quality. Your odds are far better with yamadori or prebonsai stock. That's all I am saying.
 
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"I wonder if the Mona Lisa would have been better if it was painted on canvas instead of a board?"

Well, that's hardly the point.
 
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"I wonder if the Mona Lisa would have been better if it was painted on canvas instead of a board?"

Well, that's hardly the point.


That's exactly the point. Talent shines through, regardless of the medium used. Quite a bit of the great master painters works are on ceilings, walls, and other less favorable mediums than canvas. I certainly am glad they didn't insist on only the best canvas. ;) They painted where they were paid to.

Give our best bonsai masters a pile of stock and leave them alone for a few years, the talent will show in the bonsai. Give untalented people a pile of stock and leave them alone for a few years and the lack of talent will also show in the bonsai, no matter what quality of stock they started with. Of course it also goes without saying, if you match the best stock with the best talent, wonders will indeed happen! But this is because of the combination of talent + quality stock, not because of the stock alone.

Will
 
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"They painted where they were paid to."

If you had any understanding of oil-painting whatsoever you would see how utterly mis-informed you are. Without top of the line material (and a much greater understanding of chemistry than most laymen have today) none of the old masterpieces would be with us today. With crappy material an oil-painting can completely deteriorate within a decade. I can bet you a kidney that the old masters painted with the best material available.
 
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"They painted where they were paid to."

If you had any understanding of oil-painting whatsoever you would see how utterly mis-informed you are. Without top of the line material (and a much greater understanding of chemistry than most laymen have today) none of the old masterpieces would be with us today. With crappy material an oil-painting can completely deteriorate within a decade. I can bet you a kidney that the old masters painted with the best material available.

Get your kidney ready for shipment while I gather records of restorations, pigments used, the materials the walls (Last Supper) and ceilings (Sistine Chapel) were made out of, and why they have needed so many restorations and climate controled conditions to prevent the exact deterioration you speak of. While I'm gathering this information, you can start explaining to this misinformed person how a board (Mona Lisa) was the best material available at the time. This should be good, and worth a kidney alone.

After that, we'll move on.....

Will
 
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"restorations and climate controled conditions "

I would send you two kindneys (I WOULD!! XD) if you would be so kind to enlighten me on the supposed restorations made during the 17th century, and especially the "climate controled conditions".

I can save you some time, I'm well aware of the pigments used on the paintings (or frescos) you mention so don't bother.

"While I'm gathering this information, you can start explaining to this misinformed person how a board (Mona Lisa) was the best material available at the time. This should be good, and worth a kidney alone."

The issue here is not so much the board, but the preparation. This is basic info for any painter....

Caveat: I never said the kidneys would be mine...did I? :)
 
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"restorations and climate controled conditions "

I would send you two kindneys (I WOULD!! XD) if you would be so kind to enlighten me on the supposed restorations made during the 17th century, and especially the "climate controled conditions".

I can save you some time, I'm well aware of the pigments used on the paintings (or frescos) you mention so don't bother.

"While I'm gathering this information, you can start explaining to this misinformed person how a board (Mona Lisa) was the best material available at the time. This should be good, and worth a kidney alone."

The issue here is not so much the board, but the preparation. This is basic info for any painter....

Caveat: I never said the kidneys would be mine...did I? :)

Ah, so we back pedal now? This issue was using "the best" material advailable at the time, certainly a board was not, as there were better canvas, he used them in some of his other paintings.

The 17th century was not set as a disclaimer and almost every major work is now protected in a controled environment to prevent the sort of deterioration that led to many restorations, the Last Supper has had two that I know of.

The issue here, is the board, the canvas, as that is exactly what we were discussing. Please explain to me how this was the best material available at the time. (or send that kidney) ;)


If that isn't enough, let's stick to the same artist and look at "the best materials available" he used....

From the book "Leonardo, The Last Supper"
ISBN: 978-0-226-50427-8 and from the review at http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/14227.ctl


"The technical problems with the Last Supper began as soon as Leonardo started to paint it. He jettisoned the traditional fresco technique of applying paint to wet plaster, a method unsuited to Leonardo's slow and thorough execution, and created the work instead with an experimental technique that involved painting directly on the dry plaster. With this renegade method, Leonardo rendered one of the most enduring painting techniques volatile and unstable."

Hmm, seems even the old man made mistakes, certainly not the best material to paint on and not the best way to try it. First a board and then on a dry plaster wall? Good thing he had talent.

I'll settle for kidney beans. ;)


Will
 

Tachigi

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Not that I want to get into this debate, but some useful information.

The painting medium used 1500s throughout the world consisted of tempera, ... Wood panels consisting variously of hard pine, olive, nut tree, and poplar all to be considered cutting edge at the time. Just some notes from a college class long long ago. Take it for what its worth
 
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Wood panels (you say "board" as if it were rough-cut lumber!) were not better or worse than canvas, only different. Different media for different uses. Was painting on the dry plaster a mistake? I really doubt it. Of course it wouldn't last as long, but then it wouldn't have been up to his way of painting had he not done it. So we have one of the most enduring religious icons of all time.

But this is missing the point completely of this fantastic debate, and let's bring it back to focus: Would Michelangelo have deliberately sought out the cheapest materials he could possibly find?

As an aside, I wasn't accusing you of driving an Aspire. It was a joke to make a point. And I drive a Ford truck too.
 
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"The painting has been restored numerous times; X-ray examinations have shown that there are three versions of the Mona Lisa hidden under the present one. The thin poplar backing is beginning to show signs of deterioration at a higher rate than previously thought, causing concern from museum curators about the future of the painting." - http://en.wikipedia.org/wiki/Mona_Lisa


Wood, may or may not have been the fad at the time, his other works were on paper or canvas, except for the Last Supper. The point being, the best material available was not always used, sometimes, like with the Last Supper, the artist experimented with newer, not nessasarly better materials and techniques.

I read back and found that I am in agreement with "No, it's not..." and we may be agreeing without realizing it. He said, "The issue here is not so much the board, but the preparation. This is basic info for any painter...." This is what I have been saying about bonsai, the issue is not so much about the stock as the talent. Certainly the best stock helps, but as we learned above, even sub-standard material can produce art.

This has been a fine debate indeed,


Will
 
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