Starting with your arrows, these are generally flowing quite well and confidently - just don't forget to compress the spacing between the zigzagging sections as they move away from the viewer, as shown here.

That same sense of fluidity is captured fairly well throughout your leaves, where you capture both how they sit in space, and how they move through the space they occupy. In terms of building up that more complex edge detail, you're doing a good job of following the instructions, laying each individual mark separately to build up the individual spikes/waves, rather than trying to replace the entire edge with a single continuous new line. Building directly upon the previous phase of construction holds very well to the core principles of construction, and to the third principle of markmaking from Lesson 1.

Moving onto your branches, one thing you appear to be neglecting is extending every segment fully halfway to the next ellipse, as explained here. You do this more consistently towards the bottom right (which I'm assuming is the later part of your work), so I imagine you do improve on this front. The overlap that results in that extension of the segments is important to help get the lines to flow smoothly from one to the next. Also, don't forget that we want to draw through our ellipses two full times before lifting our pen. Lastly, when drawing the actual ellipses, make sure you think about how their degree (their width) reflects the orientation of that circular slice in 3D space. Don't just stick to the same degree the whole way through - vary them as the branch turns in space.

Continuing onto your plant constructions, your work here is largely well done, but there are a few things to keep an eye on:

• Make sure you construct anything cylindrical - the branches, the flower pots, etc. - around a central minor axis line to help keep your ellipses aligned properly.

• Draw through your ellipses two full times (as mentioned earlier), and execute them using the ghosting method and using your whole arm. All of these are steps to improve your overall control, keep them evenly shaped, and to improve the chances of them falling where you want them to.

• This one's not a mistake on your part, but rather something I didn't really want to address in this lesson (I didn't want to throw too many things at students), but I feel I may as well share now. When drawing your cactus, after blocking in the major forms, you refined their silhouettes to achieve a more complex overall form. This works great for leaves, which are already flat, but unfortunately when we apply this technique to forms that have more volume to them, it can flatten them out in turn. Here are some notes that demonstrate how you can approach this kind of problem in the future. Note that it will come up in Lesson 4, because you'll be working more with solid, 3D, voluminous forms.

• When drawing something like this, I'd recommend focusing on just one of the two sections, so you can draw it larger on the page. Drawing big helps give our brains plenty of room to think through spatial problems, and also makes it easier to engage our whole arm while drawing our marks. When we've got repeated elements of a plant, it makes sense just to zero in on one aspect of it, if it's going to allow us to get more out of the spatial problem aspect of this exercise.

So! All in all, you are definitely moving in the right direction. Just a few things to tidy up in how you approach your markmaking. So, I'll go ahead and mark this lesson as complete, and leave you to resolve those points in the next one.