Starting with your arrows, great work! You're drawing these with a ton of confidence, which really sells the sense of fluidity with which they shoot through all three dimensions of the world. This carries over nicely into your leaves, where you're capturing not only how they sit in 3D space, but also how they move through the space they occupy. Overall you're handling edge detail pretty well, although I did notice here where you had some edge detail zigzagging back and forth across the previous edge. As noted here, this should be avoided, as it results in a weaker relationship between the phases of construction.

Continuing onto the branches, great work - you're extending your edge segments fully halfway to the next ellipse, which allows for a healthy overlap and helps to achieve a smoother, more seamless transition from one to the next.

Moving onto your plant constructions, overall you're doing really, really well. You're adhering to the instructions nicely, and maintaining a focus on the idea of building up your constructions from simple to complex. I have only two points to call out.

Firstly, a fairly minor one - when constructing your cylindrical flower pots (like in the bamboo construction), be sure to include as many ellipses as you need to flesh out the entirety of the structure. There's two main additional ellipses that students don't always consider, but that are important. Firstly - our flower pots aren't paper-thin, so we do generally need another ellipse inset within the opening to establish that thickness at the rim. Secondly, establishing the level of the soil with another ellipse can help give us a surface for the stem of the plant to intersect with.

Secondly, I did notice that in your rubber plant and pink anthurium, where you did get into more detail, your approach tended to be focusing more on general decoration of your drawing (usually pulling shapes from observation and transferring them directly to your drawing). This leaves us working from a fairly arbitrary goal to pursue - after all, there's no specific point at which one has 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. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

You can also review these notes.

And with that, I'll go ahead and mark this lesson as complete.