Starting with your arrows, you've done a great job here of capturing a real sense of confidence and fluidity to how they move through the scene. One thing I do want you to pay more attention to though is how the gaps between the zigzagging sections get narrower as we look farther back in space, as shown here. This will help you sell the depth of the scene more effectively.

Moving onto your leaves, you're carrying over that same fluidity and confidence to really nail how those leaves not only sit in space, but also how they move through the space they occupy. You're building up more complex detail quite nicely, although you do have a tendency to zigzag your more complex edge detail back and forth across the existing edges - especially in the bottom left leaf. Instead of trying to redraw the whole edge, focus on just adding the parts that change, as shown here on another student's work. This concept is also explained in these notes.

As you continue to move forwards, something you may want to explore further is tackling more complex leaf structures, like those shown in this section, as well as in this demonstration.

Continuing onto your branches, your work here is mostly well done, in that you've done a great job of drawing through your ellipses, keeping the width of each branch consistent throughout its length, etc. There is just one shortcoming - you're not extending your segments fully halfway to the next ellipse, instead opting to cut them much shorter and limiting the overlap between segments. As shown here, that overlap is incredibly important to ensure that the segments flow smoothly and seamlessly together.

Now with those exercises out of the way, I am honestly very pleased with your plant constructions. You're doing an excellent job of building up your constructions piece by piece, drawing through all of your forms so you can completely understand how they each exist in space, and in turn how they relate to one another within that 3D world. Your simpler constructions are especially well done - for example, this one. It shows that you're patient and careful in planning out your marks, and in thinking through every next component you wish to add to a construction.

When it comes to the more detailed and textured drawings, you're still doing quite well, but there are a couple things I want to remind you of:

• Firstly, when it comes to capturing texture, we do so using shadow shapes. Often times we'll be tempted to draw with individual strokes, but this can result in stiffer, overly uniform marks that don't really read as though they're shadows being cast by little textural forms on the surface of our objects. Instead, we can force ourselves to draw actual shadow shapes by adhering to this two-step process whenever we make any textural marks. As shown here, this will help us maintain more dynamic, interesting textures that avoid the overly-uniform nature of individual lines.

• In the very last page, I felt that when it came to adding detail/texture to your drawing, you lost track of precisely what your goal was, and ended up focusing more on the idea of decorating your drawing so you'd end up with a nice picture in the end. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So! With that, I'll go ahead and mark this lesson as complete. Keep up the good work, but keep what I've mentioned here in mind as you continue onwards.