Starting with your arrows, I am noticing that these definitely feel a little rigid. It's not that they don't flow smoothly through space, it's more that in a number of them, the relationship between the rate at which the ribbon itself gets narrower and the rate at which the spacing between the zigzagging sections (the negative space) compresses seems a little off. If I stare at them for a long time, they start to make more sense, but at a glance they definitely don't quite convey as strong a sense of motion and movement as they could. While your work in Lesson 2 perhaps had more issues with the compression of the negative space, they definitely felt like they moved through the scene with a greater sense of flow and energy - so perhaps in attempting to correct the spacing, you stiffened up a great deal.

I'm seeing similar stiffness in your leaves, where it seems that the initial flow line was not drawn with as much thought to how it actually plunges through the world. Often I'll see students who nail the flow of their arrows but stiffen up here, and the reason for that is that they get overly caught up in the idea that they're drawing something tangible and real, instead of something as abstract as an arrow. As such, they focus on making the form feel solid, establishing exactly how it sits statically in the world. Instead, what we want to strive for is capturing how the leaves move through the space they occupy - giving the impression that we've only captured a single moment in time, and that in the moments prior to and after this one, the leaf will have moved, continuing along the path that its flow dictates.

We can achieve this first and foremost by remembering that the flow line represents the forces of wind, and the air currents that push and pull the given leaf around. I often add a little arrowhead to the tip of the flow line to remind myself of the relationship between this line and the abstract motion that we capture with our arrows. At this stage, don't worry about the rest of the leaf - just focus on capturing a sense of motion, and be sure to draw that mark confidently.

The rest of your construction - specifically your adherence to the underlying stages of construction - is coming along well, and you're showing a lot of respect for how we're building things up bit by bit. When it comes to the detail on the leaves however, you're definitely breaking away from what we learned in Lesson 2, as you're focusing on capturing the textural forms with line instead of the shadow shapes they cast on their surrounding surfaces. We can see this in how you've drawn many of the veins, either outlining them all the way around, or drawing them as basic branching lines. When drawing texture of any kind, make sure you're pulling that information from some piece of reference so you can capture the full nuance of the textural forms that would be present on that kind of subject.

Moving onto your branches, these are actually looking very, very well done. You're doing a great job of constructing the forms such that they maintain an even, consistent width throughout their length (which helps contribute to their solidity). You're also showing a good grasp of how the degree of your ellipses would shift based on where we're looking along the length of the form. And lastly, you're doing a great job of getting the segments to flow seamlessly into one another. In some cases you did end up adding more line weight to cover up some of the divergences - I wouldn't do this in the future, because you don't want little mistakes to decide where you want the viewer's eye to go (and that's what increasing line weight ultimately does, creating an unintentional focal point). If mistakes happen, let them be and just keep moving forward.

All in all, your plant constructions are coming along well. There are definitely major improvements to the flow of your leaves and petals, especially. I do have a few minor things I'd like to call out, however:

• On this page, you didn't draw through the ellipse/circle that would represent your fruit (I'm assuming a tomato). This resulted in a much more uneven, wobbly shape which does not read as a solid, three dimensional form. Drawing through your ellipses is important because it helps us to achieve smoother, more even linework, which in turn will read better as a 3D form. It's the unevenness and the wobbling that adds complexity to the silhouette, which in turn makes it appear less solid.

• A minor point about this aloe plant - whenever you add a contour line, think about what it is meant to contribute, and whether or not it is actually necessary. Contour lines suffer from diminishing returns - the first will add a lot, the second much less, and the third even less. You don't generally need many - even just one contour line that has been executed well will be enough, so when students add 3 or 4 on a given form it tells me that they're not necessarily considering what the purpose of the contour lines is, and what they're trying to achieve with them. The first step of the ghosting method - the planning phase - is where we assess what a given mark's job is to be, and whether it is the best choice for that task (or if that task has already been completed by another mark).

• In this daisy and this hibiscus, you start out with a big ellipse. This ellipse is intended to define the bounds to which the petals are meant to reach. Once established, it is essentially a decision being made about how this plant is going to be drawn. If you then go on to contradict that decision by extending the petals to different points, you're introducing conflicting elements to your drawing where some marks assert one version of reality, and others assert yet another version of reality. These contradictions end up undermining the viewer's suspension of disbelief, making it easier for them to break out of the illusion you're creating. Long story short, if you establish one "truth" in your drawing, stick to it even if it means breaking away from the reference image. Do not change your mind.

• At the base of the drawing on the left side of this page, you ended up trying to use hatching lines to capture form shading. As discussed back in Lesson 2, you should not be applying any form shading to these drawings, and certainly no hatching.

Aside from those points, you're largely doing a very good job. As such, I'll go ahead and mark this lesson as complete.