Starting with your arrows, they're decent, but there are two issues that stand out with them:

• First and foremost, they feel just a little bit stiff. Not by that much, but there's a tiny bit of hesitation in the original marks that make the lines themselves appear a little less confidently executed than they ought to, suggesting that when you're drawing the marks you might be dragging them along a bit more slowly than you ought to. It's to such a minimal point that I think you just need to put yourself in a more confident frame of mind thinking about how the arrow itself represents motion through 3D space, rather than focusing on drawing the physical arrow as it exists in the world. This goes a bit further when adding any line weight - when you do add line weight, it's more noticeably rigid, because you're tracing back over those lines carefully. Adding line weight should be done using the ghosting method, ensuring a confident, fluid stroke.

• The spacing between your zigzagging sections needs to compress more consistently. You're doing this correctly in the top right, but less so elsewhere. Here's an example of how to think about space when drawing your arrows.

Moving onto your leaves, the same sort of rigidity does appear here as well to varying degrees. Some are better - the bottom left leaf (that is, if the page were rotated correctly, rather than the bottom left of the image) is drawn in a way that captures a nice sense of fluidity and motion, establishing not only how the leaf sits in space but also how it moves through it. In the other cases however, I things definitely stiffen up. It's worse in situations where you're more preoccupied with detail, which causes you to think ahead to how you're going to approach adding more visual information, rather than just solving one problem at a time.

That's ultimately what constructional drawing is all about - breaking things into a series of smaller, simpler problems, rather than trying to solve everything all at once.

As a last point, remember that as discussed back in lesson 2's texture section, all texture is made up of the shadow shapes cast by the forms present on an object's surface. Texture should not be captured as a series of lines or outlines, but rather through solid, filled black shapes.

Continuing on, it appears that you've neglected to include your branches exercise here. I'm sure you've completed it, but that will need to be included before I can mark this lesson as complete.

As a whole your plant constructions are coming along decently, though there are a number of issues that I'd like to address:

• In a number of pages you let the stem of a plant drift off the edge of the page. Be sure to instead cut off the stem and cap it off with an ellipse to enclose it as a solid form. Having it stop as two lines with an open end results in the form flattening out a little bit. With every form you add to a construction, your first and only priority should be on ensuring that it feels solid, and ensuring that it is not interpreted as a flat shape or a loose collection of lines.

• On this page, the way you've built up your more complex leaf detail has resulted in some very weak relationships between phases of construction. This point relates most closely to your question about freehanding detail. The key is to ensure that every phase of construction is tightly bound to one another. Don't redraw the entire object with every phase. Instead, as shown here, see every phase of construction as solving a problem. Once solved, adhere precisely to the answer already given. For example, in step 2 of that demonstration, I define the furthest extent to which the leaf extends. In step 3, I do not then redraw the furthest edge of each section of the leaf, redefining its perimeter - instead, I draw edges to that original edge and stop there. This ensures that any later detail I add has the full benefit of the solid, simple structure already laid out, and eliminates any potential contradictions. If I then want to build wavy edges to the resulting pieces that follow, I can do so by constructing those waves as individual bumps rising off the structure I now have in place, and returning to it, as shown here. I do not every stray further than that structure will support. Break everything down into individual stages and build them up one by one. Don't solve more than one problem at a time.

• Cast shadows are lovely, useful things for separating out the various forms in our constructions, but in order to use them effectively there are certain rules we must follow. In your sunflower drawing, I noticed that there were some petals that you engulfed completely in shadow, resulting in solid black petals. This unfortunately doesn't come off as believable due to how the leaves are arranged - unless you have an ironclad, obvious reason for shadows to stretch over the entire petal, I'd avoid filling an entire surface with solid black like that. Honestly, this strangely applies even if the reference image shows the whole thing in shadow, just because your drawing here is going to lack some of the context of the original photograph.

• For the flower pot on this page, a few things. Firstly, construct all your cylindrical forms around a central minor axis line to help align your ellipses. Secondly, draw all your ellipses all the way through - even if, like the underside of the rim, only part of the curve is visible. So the way you handled the base is the way you should handle all of them. Think of the flower pot as first being built up as a series of ellipses, which are then connected and turned into a solid structure. Thirdly, make sure that you place a smaller ellipse inset within the opening to give it some thickness, rather than leaving it paper-thin.

Now, all in all your constructions are coming along well, but I'll still need to see your branches before I can mark this as complete.