UNLIKE THE CREATION OF MOST object types in visual ization, creating vegetation is more an art than a science. When you create wal ls, roofs, sites, and most other scene elements, you usual ly do so with the precise guidance of architectural or engineering drawings. Even though we reserve a certain degree of art ist ic interpretation in the creation of many object types, especial ly in the absence of information, that degree usual ly extends much farther with vegetation. For example, when a set of architectural drawings specif ies that the roof of a house needs to be a barrel t i le roof, it probably doesn’t matter i f the roof is barrel t i le or Spanish ti le, but it certainly needs to be some kind of t i le, rather than a completely dif ferent roofing material such as standing seam or asphalt shingles. On the other hand, when a landscape drawing specif ies the placement of an oak tree, you can often substitute a completely dif ferent tree, such as an elm. When you place the front door of a house, that door needs to be placed with precision. On the other hand, the location of a tree is often guided less by a landscape drawing and more by where it can block the view of something you don’t want the camera to see. These are just a few examples of the added latitude that we are usual ly afforded in the creation of vegetation as compared to the creation of most other object types. Furthermore, landscape drawings are often never provided, in which case we are sometimes asked to play the role of landscape architect.