Absolutely, I think about that all the time. A drop on a leaf refracts light like a tiny prism, and I try to capture that same symmetry in a crystal cut. It’s a never‑ending obsession, but it feels like the natural world is giving me a secret blueprint.

I look for patterns that repeat, like a lattice hidden in the leaf veins. I start with a basic geometry—triangle, tetrahedron, maybe a prism that can hold the light the way dew does. Then I test the facet angles in a small model, watching how the rays bend. If the light falls in a pleasing symmetry, that shape moves forward; otherwise, it stays in the design notebook until I find the right balance. It’s a very methodical process, almost like tuning a clock.