 Okay, I am right now looking at a little part of a hydrangea and I'm drawing this using implied shapes and I'm drawing it even though it's with a cheap ballpoint pen. I'm drawing it very lightly at first to find those implied shapes and kind of see where everything is. Kind of getting to know my subject matter and not committing too much to what it is I'm drawing. It's sort of like your mother telling you don't get married on the first date. You kind of want to get to know your subject matter and you want to see what you are working with. So this is very implied shape. Now moving into looking at directional axises like this little branch and this little tiny seed here and now I'm going to start building in the shape a little bit more and trying to get some of the gesture, some of the lines that are coming through from this and as things move behind they disappear and actually Leonardo da Vinci coined that the law of disappearance and there's a few of those leaves disappearing. I think I'm going to hatch those and then I'm going to hatch some of the darker parts of these leaves and then I'm going to start to pull out some more details and darken this up and find out what the form really is and discover more of what I'm looking at. Now there's been many sages over centuries that say you don't really see anything until you try to draw it and so there might be some truth to that here and we'll pull this out pull this out and this out a little bit and finish this leaf and take that little curve and this little curve and we'll keep working with that and this is what we do in the studio art department at Gustavus.