Starting with your arrows, your initial linework generally looks pretty good - a touch hesitant, but for the most part pretty confident and capturing how the arrow flows through space. When you start adding line weight however, you do end up hesitating more, which imbues the linework with more wobbles. Remember that even when adding line weight, you should be executing those marks the same way you would have otherwise - using the ghosting method, with a confident execution. Don't trace nervously along the line - even if drawing more confidently results in mistakes. Those mistakes will diminish through practice, not through avoidance.

Moving onto your leaves, very nice work - you're capturing that sense of fluidity and confidence here, and in doing so establishing how those leaves not only sit in space, but also how they move through the space they occupy. You're also doing a great job of approaching adding more complex edge detail (building right onto the existing structure, rather than trying to redraw each leaf in its entirety), and you're handling complex leaf structures with a lot of respect for the constructional method as well.

For your branches, you're similarly doing well, but just need to remember to extend each segment fully halfway to the next ellipse, in order to maximize the overlap between the segments. As shown here, that overlap helps achieve a smoother and more seamless transition from one to the next.

Continuing onto your plant constructions, you are mostly doing quite well, and just have a few things to have pointed out to help keep you on the right track:

• This one's a point that you're actually pretty good with in most cases, but if you take a look at the flower at the top of this page, you'll notice that you started out with an ellipse. This is a good technique, but it's important to understand what that initial ellipse represents. Every mark we add to a construction answers a question - in this case, the ellipse establishes how far out those leaves/petals are going to extend. Once that decision has been made, we have to abide by it - meaning that the flow lines for each petal needs to stop right at the ellipse's perimeter. Avoid having them overshoot or undershoot that perimeter as much as possible. And of course, from there (as you have been), the petal/leaf itself extends to the end of the flow line, with no gap in between the petal's end and the end of the flow line. Long story short - continue keeping the relationships between your various phases of construction tight and specific, avoid gaps or arbitrarily overshooting things.

• When drawing your flower pots, I'm very pleased to see that you're constructing those cylindrical structures around central minor axis lines. This helps to align your ellipses. You can however definitely add more ellipses to capture whatever complexity is present in that flower pot structure. For example, adding another ellipse inset within the opening will help you capture the thickness of the rim. You could also add another ellipse to define the level of the soil itself.

• Also, remember that the ellipse on the farther end (the base) will be wider than the end closer to the viewer (the top). There's an explanation as to why this is in the ellipses video for lesson 1.

• For this rafflesia, be sure to draw each petal such that it becomes a complete, enclosed form - basically draw the petals even as they intersect into that central structure. When we have our forms get cut-off against something else, rather than interpenetrating, we risk having the forms feel more like flat shapes drawn on a page. Keep in mind that throughout this course, our drawings are exercises in spatial reasoning - so we'll benefit from drawing each and every form in its entirety, so we can better understand how they relate to one another. In some cases it'll definitely feel weird (like you're inventing an unseen chunk of a form), but as long as you keep the form simple, you can draw that hidden part however you like.

Aside from that, very nice work! I'm really pleased with how much you've focused on the core structure of these plants, building up from simple to complex, and maintaining the overall illusion of solidity throughout. Keep holding to that - there will always be greater extents of complexity one can achieve and explore simply by investing more time to a given drawing, but it's important to start out your drawings in this manner. As you continue to move forwards, you'll want to push a little further in terms of how far you take each drawing (finding new levels of complexity in a given reference image).

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