Starting with your arrows, these are done quite well. You're drawing them with a great deal of confidence, which helps to convey the fluidity with which they move through space. This does carry over fairly well into the leaves as well, where you're capturing not only how the leaves sit statically in the world, but also how they move through the space they occupy.

There are a few things I'd like to point out in regards to your work here however:

• First and foremost, I can see that you were very enthusiastic about loading this page up with a ton of leaves. That is certainly admirable, but it did result in you artificially limiting the size of many of these leaves, which in turn can impede our brain's capacity to think through spatial problems while also making it harder to engage our whole arm while drawing. To put it simply, always try to give the first drawing to a page as much room as it requires. Once it's done, you can assess whether another will fit in the space that remains, and repeat that process.

• When building up your more complex edge detail, I can see that throughout the majority of these, you built that more complex edge detail bit by bit, one individual stroke at a time, right onto the existing structure. That's good to see - it shows that you understand how each step of construction builds upon the phase before it. I am however seeing a number of cases where you've traced back over parts of the previous step's edge, even when there was no additional change to construct. As shown here, only draw new marks where the existing construction needs to be altered. Don't trace back over to replace marks that already stand for themselves. Additionally, try to stick to roughly the same level of line thickness from stage to stage. You can always go back in with a separate pass towards the end to add line weight, though that should be focused primarily in areas where overlaps need to be clarified in specific, localized areas, as shown here.

• I also did notice this leaf and a few others like it, where you fell more into zigzagging your edge detail back and forth across the previous phase of construction.

Continuing onto your branches, these are looking good. You're extending your segments fully halfway (and often further) to the next ellipse, are mindful of how those segments overlap to achieve a smoother, more seamless transition, and you're maintaining an even, consistent width throughout the branches' lengths to help reinforce the illusion of solidity. Nice work!

Onto your plant constructions, as a whole you're doing quite well. The issues I called out before are still present - so for example, how in this plant you started with the basic leaf construction, but ultimately replaced those initial phases by drawing a completely new leaf on top of them (here's an example of how to approach that kind of leaf such that it builds upon the existing structure rather than replacing it) - but as a whole this is primarily going very much in the right direction. I have just a couple additional points to call to your attention.

Firstly, you are definitely doing a better job of making use of the space available to you on the page, but there still is plenty of additional space that could allow you to draw your plants bigger. It's also worth mentioning that you do not have to focus on reproducing the entirety of your reference image - in cases where you've got a bunch of the same flower coming up multiple times, you could opt to focus in on a specific area of the plant so you can explore those forms more completely. So for example, in this one you could have focused on a smaller cluster of two or three, blown them up larger on the page, and explored them in greater depth. Opting to draw all of them instead forced you to give each individual flower a very limited space, hindering your spatial reasoning skills and your use of your arm while drawing. This tends to lead to somewhat clumsier markmaking, and at this stage it's best to continually push one's self to draw confidently, using the whole arm, and so on.

As a more minor point, but still one worth calling out, I did notice that you have a lot of cases where you don't draw through your ellipses two full times before lifting your pen. Remember that, as discussed back in Lesson 1, you should be doing this for all the ellipses you draw freehand throughout this course.

The last point I wanted to discuss comes down to how you approach the detail phase of your drawings. Right now I can see that you're thinking a fair bit about the use of cast shadows, and working in intentionally designed shapes of solid black. That is very much headed in the right direction. There is however a tendency for students to feel that when they hit the detail phase of a drawing, that their focus should go towards doing whatever they can to make that drawing feel more impressive. To decorate it, and create a pretty end result. Unfortunately, decoration itself is not a particularly tangible goal - it's kind of arbitrary, with no clear point at which we've added "enough".

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information, and they give us a clearer goal to work towards. Instead of piling on as much ink as is needed to make our drawing look nice, instead we can focus on using as little ink as possible to achieve the goal of communicating these specific points to the viewer.

As a whole, I should reiterate that I do feel you're moving in the right direction here - you just have a tendency to pile on the ink in ways that isn't always necessary. Always come back to what information you're trying to convey, and which textural forms' presence you want to point out to the viewer. It doesn't have to be thorough or even complete - just enough to get the idea across to the viewer, leaving it to their brain to fill in the rest.

Anyway! As a whole, your work is coming along well. I'll go ahead and mark this one as complete.