Stage II
New typeface, new approach, with the stacked type in the upper left corner balancing the greenery in the lower left. But this typeface is too round and mechanical for the grace and organic nature of the imagery, and the overall balance isn't quite right.

Final
Berkeley Italic offers a wonderful solution: its traditional structure echoes the strength of the tree while its graceful thicks-and-thins give it an organic feel. Three lines of type, each shorter than the one above, draws the eye down and into the face of the Buddha. The greenery on the right then shoots the eye back up to the top, where the type draws you in all over again. A slight drop shadow helps the type stand out and echos the color variations in the tree. It also adds to the dimensionality of the piece, where the greenery is on one plane, the Buddha on another, and the type on a third. Thanks to Mike for the opportunity to explore this lovely contemplative quote.