Starting with your arrows, you've done a great job of capturing these with a strong sense of confidence and fluidity, establishing how they move through space with a strong sense of force. Just remember to exaggerate the perspective on your arrows, both in having the width of the ribbon itself get wider as it gets closer to the viewer, and in compressing the gaps between the zigzagging sections as they move farther away. Here's an example of what I mean.

That confidence and fluidity appears to carry over nicely into your leaves, and you've done a good job of capturing not only how they sit statically in space, but also how they move through the space they occupy. You're also building up the more complex edge detail nicely, doing so in individual marks rather than trying to outright replace the silhouette of the leaf in one go. This helps you maintain the sense of solidity throughout the whole construction.

Your page of branches is a little blurry, but while I think overall you're doing reasonably well, I think there's an issue with how you're handling the overlaps between the segments. As explained here, your segments should start at an ellipse, go past the next ellipse, then stop halfway to the third. Each segment follows this pattern, allowing for a healthy overlap of about half the distance between your ellipses. In yours, I noticed a handful of places where that overlap was minimized. The overlap is important, because it helps us transition more smoothly and seamlessly from one ellipse to the next.

Continuing onto your plant constructions, as a whole you've done a pretty good job. You're adhering to the principles of construction nicely, building from simple to complex, and minding the individual purpose of each stage rather than rushing forward. I especially appreciate how when you construct your flower petals and leaves, you're thinking about how each flow line defines how that given leaf moves through space, and you're careful to ensure that the silhouette of said leaf stops where the flow line does, rather than leaving arbitrary gaps between these phases.

I have just a few minor suggestions to offer:

• When constructing your flower pots - specifically cylindrical ones - be sure to construct them around a central minor axis line. This will help you line up your ellipses to one another.

• For the potato plant, you stopped following the demonstration early, which actually led to a bit of a mistake. In the demonstration, I fill certain spaces between the leaves with solid black - but what I'm doing here is not simply filling that negative space in. Those solid black areas are actually cast shadows, where the foliage is so dense that shadows would cover the dirt below. Without actually drawing the shadows cast by the other leaves however, we lack the context to convey this to the viewer, making them think that the choice to fill that area in with black was more arbitrary. In general, it's important to stick to using filled areas of solid black as cast shadows only, because the viewer's brain will first try and make sense of them as such, and will only move on to try and figure out what else it could be afterwards. By the time they're doing that, you've already lost their suspension of disbelief.

Aside from that, your work is coming along very well. Your leaves flow smoothly through space, and your more voluminous forms feel very solid and believable - especially the fruit. I'll go ahead and mark this lesson as complete, so keep up the great work.