So when you go to put all these landscape concepts together into a landscape drawing or landscape sketch, you're gonna basically ratchet through a few stages. The first stage to begin with is the gesture stage. And you know these stages kind of bleed into each other, they're not incredibly distinct. You can always go back and refine in an earlier stage if you need to. And what we're focusing on is this the basic set of tools with the gesture. We're working on creating an interesting composition, how everything is laid out on the page. We're working with basic shapes and overlap a little bit of contour. We're really over generalizing everything in this stage. And then once you finish that it doesn't take very long a couple of minutes. You're gonna ratchet forward into the block-in stage. And if you've missed anything on the gesture, this is when you're gonna add it in. I added a bunch of trees back in after focusing mostly on large bushes and shrubbery. I'm working on a very dense landscape here. It's kind of really pretty challenging actually because there's hardly any open space. And what you're gonna do first is you're gonna squint at everything and look at what's light and what's dark. You know with this much foliage most of everything is gonna be quite dark. Trees and bushes generally speaking are very dark compared to somewhere else this guy. So I'm basically just gonna go through and create like a little value map and I'm not gonna differentiate too many values. I'm just gonna go ahead and place values down. And while I don't want to be slow about it, I don't want to be too non-specific or too generalized. I'm going through and mapping out where I see these blocks of value. And I think one of the things that trip people up is that this value map gets too generalized and too non-specific. So if you find yourself just kind of covering a whole tree with value and you don't really like look for any different variations in there, then maybe you should go back and kind of refine the way that you do this. I'm looking at at large shapes, yeah, but I'm looking at them very specific to where they're gonna go in the end drawing. And because I have that gesture mapped out, I kind of know where these things should go. I can compare what I've done on the page to what I'm looking at out in the landscape. And so this sort of blocking stage has several sub stages to it. So that first stage that I went through pretty much covers the generic value map. So now what I need to go in and do is start to separate these values. You know, the minimum to create a sense of light is three values. So it could be the white of the paper, middle gray and a dark gray. For instance, I like to think of it as doing four values. You have your absolute black, your dark gray, light gray and the white of the page. And if you can block in your entire landscape using those four values, you'll be able to go in then and do even more differentiation and separate them further. But already you can see that with a very simple value map, you've got an idea of what this landscape looks like. And if I complete this value map with these four values and stop, I actually have kind of a decent landscape drawing in and of itself. It kind of creates a lot of energy. And that's one of the nice things about using a process like this is wherever you stop in the process, you have an interesting drawing or at least the beginnings of an interesting drawing. And what we've done now is we've created a map that we can then go back on top of and refine with all the other knowledge we have about landscape drawing techniques, such as texture and tone and detail.