Starting with your arrows, great work. You're drawing them with a great sense of confidence and fluidity that helps convey a sense of movement. Just remember to do the same when adding line weight - your strokes when doing so are definitely more hesitant, resulting in stiffer execution as well as a more noticeable "end" to the strokes. When you draw them more confidently, the ends will tend to taper more, allowing them to blend more seamlessly into the existing linework.

Continuing onto your leaves, you're similarly doing well to capture the fluidity of your lines, and in so doing, capturing how the leaves not only sit in space, but also how they move through the space they occupy. That said, I am a little concerned just on how your linework appears to be somewhat loose and sloppy, suggesting that you're just not taking enough time (and probably not applying the ghosting method as consistently) to every mark you make. You're not too far off - you just need to exhibit a little more care and patience to really get the most out of every mark.

Avoid gaps and overshooting, and make sure that the stages of construction build directly off one another, maintaining really strong and specific relationships. With the more complex leaf in the upper right corner of the page, you've got a lot of little gaps or overshoots, and that general sloppiness undermines the solidity of the construction. Additionally, here you're leaning pretty heavily into replacing the edges from the simpler phase of construction, rather than building upon it. Remember that construction is all about taking what's there and only adding the parts that need to change - drawing either your additions, or if you're working subtractively (as you did here), drawing the cuts rather than a whole new leaf within that framework.

And of course, remember that it doesn't matter if a drawing is considerably more complex, with a lot more lines required - you should still be investing as much time as is required to execute each mark to the best of your ability. More complex drawings just take longer.

Continuing onto your branches, from what I can see you're not following the steps [as laid out in the instructions]() as closely as you should be. Most notably, the instructions state that your segments should extend fully halfway to the next ellipse, then the next one should start at the previous ellipse, allowing for a healthy overlap between them. That overlap is an important part of ensuring that the segments flow more smoothly and seamlessly from one to the next. You do this sometimes, but as frequently you have more minimal overlaps, or have a single segment cross over numerous ellipses. This all suggests you could definitely be approaching this exercise in a much more intentional manner than you are right now.

One last point to keep in mind is just to be sure to have those ellipses shift in degree (getting wider or narrower) as you slide along the branch structure. The reasoning for this is explained at a few points prior to this, but the best explanation is in the more recent update of the lesson 1 ellipses video, so be sure to check that out if you're unclear on why it works this way.

As you get into your plant constructions, your work here does improve. Your linework is a little less loose (though there is still room for improvement here), and your general approach does show respect for most of the principle of construction. There are a few places in which you drift, however:

• With the corpse lily, you are falling into a pattern of zigzagging your petals' edge detail back and forth across the previous phase of construction, instead of ensuring that each bump is drawn separately, and built directly off the existing, simpler structure.

• When it comes to any kind of texture - for example, on the corn's sheath/leaves, you're not applying the principles explored back in lesson 2's texture section. Instead of working with intentional cast shadow shapes and thinking about the textural forms that actually cast them, you appear to be focusing more on drawing what you see, and doing so in a rather rushed manner (scribbling haphazardly rather than planning out your strokes). As a rule, to avoid the temptation of just painting your textural marks on one stroke at a time, it can help to approach all textural marks using a two step process - first outlining a cast shadow shape, then filling it in. Ensuring that every textural mark is itself a shadow shape will help you work more purposefully here, rather than just scribbling out what you see without thinking of what those marks actually are meant to represent, or what they are the result of. Similarly, make sure that with the little nodules on the cactus, that you're drawing them implicitly by drawing the shadows they cast, rather than outlining them.

• The rose is a unique challenge - so this isn't really a criticism, but rather a suggestion on how one might approach it in the future. With a case like this, you can see that the petals appear to follow a sort of cylindrical pattern. In such a case, starting with an actual cylinder and then wrapping petals around it can work quite well. Just be sure to draw each petal in its entirety - these drawings are all exercises in spatial reasoning, so the focus is on understanding how each form sits in space, and in turn how they relate to one another within it. Drawing each form in its entirety is necessary for this, as only drawing them partially and cutting them off where they're overlapped causes us to view them more as parts of a flat drawing, rather than actual 3D structures.

All in all you are moving in the right direction, but I want to see you working more intentionally and planning out all of your marks using the ghosting method before you execute them, generally to demonstrate more overall patience. I'll assign some revisions below to give you the opportunity to do that.