Starting with your arrows, these are drawn fairly well - a touch hesitant here and there, and the hatching lines should be drawn across from edge to edge rather than floating in the middle, but all in all you're still capturing a decent sense of fluidity in how they move through space. Just be sure to push the confidence of the strokes a little more.

I think you do a better job with the confidence in your leaves exercise, although there are a few issues in how you approach tackling the complexity of both the edges and the overall leaf structures. In this crop for example, you can see a case where you've zigzagged your more complex edge detail back and forth over the previous phase of construction. As explained here, this should be avoided - the edge detail should be added with individual bumps, each coming off the previous phase's simpler edge, and returning to it seamlessly. I can see that you're breaking it into separate sections, but each section needs to adhere to that previous phase, building off it directly instead of treating it more like a loose suggestion.

Similarly, here we can see how you start out with a simple overall shape for this whole branch of leaves. The important thing to understand about the constructional method is that every phase answers a question, or asserts some aspect of what the end result will be. With that initial overall boundary, you're setting out the extent to which those leaves will stretch. From there, the flow line of each subsequent leaf represents how that leaf moves through space, and how far it will extend. You drew them correctly, having them stop at the boundary of the larger shape, but then when drawing the leaves, you were much more loose in following what the flow lines had asserted. Note how in this section the example of handling more complex structures is handled, treating every phase of construction as asserting something. Every subsequent step follows that assertion to the letter.

That section also explains why in the maple leaf drawing, you appear to have completely sidestepped the constructional process altogether.

The last point I wanted to make was that when drawing the details on your leaves, you appear to be working with individual lines, and are relying more on memory than direct observation of reference, resulting in textures that appear more oversimplified. Along with being sure to observe your references directly and frequently, only looking away for long enough to put down a specific mark, be sure to work strictly in shadow shapes when drawing texture, rather than individual lines. You can adhere to this most easily by making a habit of following this two step process whenever making any textural marks, first outlining the intended shadow shape, then filling it in.

Moving onto your branches, one thing that caught my eye was the fact that you don't appear to be extending your segments fully halfway to the next ellipse, resulting in a minimal overlap between them. As explained here in the instructions, the overlap helps allow the segments to transition from one to the next more smoothly and seamlessly. Aside from that misstep, your branches are looking fairly solid and well constructed, and I'm glad to see that you're maintaining a consistent width through their lengths - it helps make the structure feel more solid.

Continuing onto your plant constructions, aside from the issues I have addressed, overall your work is coming along fairly well. I do believe there are further places where more careful observation of your references could help - some of the leaves, like those in this drawing feel a little more simplified in their overall structure, and the focus on lines instead of shadow shapes when adding texture definitely has a negative impact. I strongly recommend you review the texture section from lesson 2.

A couple points about flower pots, and cylinders in general:

• Be sure to construct them around a central minor axis line, in order to help keep the ellipses used in their construction aligned to one another. While I've touched upon their importance in a number of places throughout the lessons, I most recently updated the ellipse content for Lesson 1 with a new video, which explains the minor axis' value as well. I'm working through updating all of the videos, although it's somewhat slow going, and I'm only about halfway through Lesson 1.

• Don't leave the cylindrical forms, like those on this page, open ended. When you leave the bottoms open as you did, you leave the viewer to interpret them as a series of lines or shapes on a page, rather than solid 3D forms. Closing them off with another ellipse helps reinforce the idea that we're dealing with three dimensional forms.

Lastly, in this page, you don't appear to be drawing through your ellipses, resulting in the ellipses being a little less evenly shaped, and a little more stiff. In general, just be sure to execute your marks with a bit more confidence, and make a point of doing so from the shoulder.

I feel there's enough pointed out here - specifically in regards to the leaves - that I'd like a few pages of revision before I mark this lesson as complete. You'll find them listed below.