Jose’ first got started in Bonsai around 1973, and started lecturing about it around 1982. He’s written many articles, and had his award-winning trees displayed just about everywhere you can think.

Jose’ started with a slide show, wherein he got down to the basics about the design of a tree. I won’t be able to do the slide show justice here, but it is a must-see, especially for beginners, as it breaks down the elements of design and how to use them to make your tree look both beautiful and old.

Jose’ began to work on the Ponderosa Pine brought in for the demonstration. While studying the tree, he talked about how working with what the tree has that you can’t change. He looked for anything to use a s a focal point. He quoted Mies van der Rohe, the famous architect, stating "Less is more" when it comes to Bonsai, that you want to present one simple, clear idea. If something doesn’t add to the tree, remove it.. After studying it for a bit, he decided that he would have to drastically change the viewing angle, tipping the tree to show how he thought the final angle should be set.

Then he began to work on the tree, cutting away branches that were non-contributing. He talked and worked simultaneously, dropping great bits of information along the way. A tree with driftwood at the bottom needs some at the top. A tree needs consistency and simplicity. There is a heavy branch forming the lower branch of the design. He thinned the material on that branch to bring it into proportion with the rest of the tree. A tree needs depth. Therefore keep something at the back. Often, one can place a large bend to the back and then forward to create more depth.

Ponderosa pine is very supple. Therefore wire needs to be kept on for a long time. He used aluminum wire, despite the fact that it is not the best choice for a tree that will require wire for a long time.
He started to carve in order to create some deadwood. He emphasized that we need to keep certain things in mind when carving. Don't create pockets that will allow rain to collect. Never carve right to the ground level. Try to follow the trunk line when carving so that the deadwood looks natural. He
wanted to create some curve on the bottom side of the jin to emphasize the curve. He worked to create a point on the jin for a more natural look also. He does not like to create jin by crushing the bark because he has too little control. He worked to create crevasses in the jin to simulate natural weathering. Use the shape of existing jin as a guideline to know how to shape new jin. Some of the jin closer to the top of the tree was competing and so he removed it. The remaining jin were in the same direction as the jin at the bottom of the tree. The reason for this is that jin at the top of the tree
will be subjected to the same prevailing weather conditions as jin at the bottom of the tree. The jin was also used to accentuate the movement of the trunk. Without the jin, the tree would look elegant. The tree is meant to look old though and so the jin is present.

He tints lime sulphur with acrylics to achieve the correct colour. He will also use tinted putty to fill holes that don't help design elements. He said to make the jin dark like the other deadwood that was already present on the tree. He also suggested doing Phoenix grafts to create material that can be used to increase deadwood. He also mentioned that one needs to know how far one can go without killing a tree and that he is always learning. In an aside, he told us that bougainvillea needs a period of dormancy and that this rejuvenates them. When the outside temperatures are as low as the low 40s, he takes his into his basement and treats them with little light, and minimal watering. The tree loses all of its leaves. In spring, he repots the tree. He had one tree that was getting weaker and weaker and he did this and the tree became show worthy that year. The last thing that he did for the styling of the tree, was to put rhythm into the tree through the wiring. To do this, he made sure that all of the branches had the same angle. The tree will be planted to make it slanted. Later, he would use a dremel to carve smaller detail into the tree.

March 17th is St. Patrick’s Day. In most towns and cities in America, this day has become little more than an excuse for people, who, by and large know nothing about St. Patrick, to go and drink beer, oftentimes green beer, at some bar with cardboard cut-outs of four-leaf clover hung about.

St. Patrick is one of the pivotal figures in Western History. He and his "green martyrs" were singularly responsible for copying down the great works of ancient literature, while the European continent was aflame from the raids of the barbarian hordes, preserving them for all time. I provide below a tiny excerpt of a poem/prayer ascribed to St. Patrick, called "St. Patrick’s Breastplate", sometimes called "The Deer’s Cry" because it was thought to make him resemble a deer to those who would do him harm. The entire piece is a profound testimony to the depth of his religious convictions:

I arise today

Through the strength of heaven:

Light of sun,

Radiance of moon,

Splendor of fire,

Speed of lightning,

Swiftness of wind,

Depth of sea,

Stability of earth,

Firmness of rock.

Congratulations to Valerie Nash, who won the pot we raffled off. There was a lot of interest in it judging by the amount of tickets sold. We hope to do even better next month with the ponderosa pine Jose Cueto worked on last night. He even took it back to Columbus with him to do the fine wiring and carving he thought were necessary.