Starting with your arrows, you're doing a great job of drawing these with a strong sense of confidence and fluidity. You carry this over quite nicely into your leaves, where you capture not only how each of these sit in 3D space statically, but also how they move through the space they occupy. I'm also pleased to see that in a few places you've experimented with adding more complex edge detail, one little bump and adjustment at a time, building directly on top of the previous phase of construction without attempting to redraw the whole edge at every stage.

The next step for this kind of exercise would be to explore more complex leaf structures, like those shown here, which take the same principles and layer them to achieve greater levels of complexity.

Continuing onto your branches, while these are generally well done, there is one key shortcoming - quite literally, the extensions of your segments are too short, they should be extending fully halfway to the next ellipse. This is meant to provide a more significant overlap between the segments, which as shown here helps us achieve a more seamless transition from one to the next.

Moving onto your plant constructions, these are by and large quite well done, although I definitely noticed that while your linework mostly appears to be fairly confident, the lines themselves are very faint, something you have definitely taken advantage of in order to lay down construction lines that did not show up particularly boldly as part of the final images. While that's an advantage for the drawings themselves, it is distinctly not something I want to see for the work submitted for this course.

The big risk is that it's easy for students to focus too much on how their end result comes out, to the detriment of ensuring that their linework is confident and well thought out. Purposely drawing certain marks more faintly, or hiding them can cause students to give up valuable cognitive capacity while thinking through spatial problems, and they can also end up skipping important constructional steps. As you can see in my demonstrations, I draw every mark to be clear and bold. I don't hide anything.

Another couple of points I wanted to call out are shown here:

• Firstly, remember that all textural marks are to be drawn as shadow shapes, not outlines. You can avoid drawing basic lines for these by adhering to this two step process for every textural mark.

• I don't expect you to know this one right now, but keep it in mind moving forward. Cutting back into the silhouette of a flat form (like leaves or petals) is fine, because they're already flat. But taking a more voluminous 3D form and cutting back into its silhouette will cause the form to flatten out. Instead, build on top of it by introducing new additional forms and defining how they wrap around or connect to the existing structure.

Aside from those points, your work is coming along well. I'll go ahead and mark this lesson as complete.