the mottled figure holds its coherence, just as promised, but in Murray it meets a different set of hands and a different architectural vernacular—projects scaled to a community where a single flitch of Black Mottled Makore might define an entire interior, where that shimmering, almost three-dimensional optical movement across the golden-tan surface becomes not one panel among dozens but the centerpiece of a lobby, a boardroom, a private residence where every ripple and ribbon stripe will be studied at close range. The density of the mottle pattern, those tightly stacked horizontal waves interlaced with vertical figure, rewards that intimacy in ways that broader commercial installations rarely demand, and Rosebud's role here is ensuring that Murray's craftspeople receive sheets selected not just for species consistency but for the specific visual intensity this kind of proximity requires. It is a matter of reading the flitch correctly, understanding which leaves carry enough depth of amber and honey-brown variation to sustain a viewer's attention at arm's length rather than across a atrium—and that discernment carries forward as the veneer travels east toward Nantucket, where