Starting with your arrows, you've done a great job of capturing how they flow through all three dimensions of space with a great sense of confidence and fluidity. This carries over very nicely into your leaves as well. You're not just focusing on capturing them as static objects, establishing how they sit rigidly in space - you're capturing how they actually move through the space they occupy, with a sense of the forces being applied to them and driving them through the world.

Now, I did notice that you were a little sloppy when adding additional edge detail to your leaves. For the lime tree, you zigzagged your edge back and forth with a continuous stroke, a problem explained in these notes that creates a loose relationship with the previous phase of construction. With your chestnut tree and hazelnut tree leaves, you constructed each individual 'spike' separately, which is good, but you should definitely have put more time and care into ensuring that each mark rose off the previous phase of construction's edge and returned to it cleanly. If it's simply a matter of investing more time into a drawing that sets us apart from seeing the best of which you are currently capable, then that time should be invested.

Looking at the oak leaf, I'm glad that you made an attempt at a more complex leaf structure. The thing to always keep in mind for construction as a whole is that each phase answers a question or solves a problem. In the case of the very first large leaf form you drew for this one (the big one you ended up deciding didn't quite match the leaf you wanted to draw), it answered how big the leaf was ultimately going to be, how far its parts would reach out into space.

Once answered, you cannot change it. If you attempt to change it, you'll end up with a contradictory statement present in your drawing that won't be going away. Even if your construction ends up going in a direction that doesn't perfectly match your reference, that's fine. It is more important that you avoid contradictions, that you stick to the same answers and that you build directly on top of them. Every phase of construction is the scaffolding on which the next is built.

Continuing onto your branches, for the most part here you've done a solid job, and have managed to get your segments to flow quite smoothly and seamlessly into one another. Just don't forget to extend each segment fully halfway towards the next ellipse to maximize the overlap between them as shown here.

Moving onto the plant constructions, overall you've done a pretty good job. There are a few minor points I want to mention, but all in all you're progressing well.

The first issue I want to call out is that you're definitely trying to pack a lot into each individual page, and while this is fine, it is resulting in many of these drawings being artificially tiny. Drawings that are stuffed into cramp spaces have a tendency to come out clumsier and more haphazard, because the limits on working area impede our brain's capacity for spatial reasoning, and because it makes it a lot harder to engage our whole arm when drawing. Furthermore, it makes the basic lines we're drawing with thicker relative to the drawing as a whole, and eliminates a lot of the subtler nuance.

As a rule, give each drawing as much room as it requires on a page, and don't artificially limit it in order to preallocate space for multiple drawings. Once you've finished the first, assess whether you have enough room for another. If you do, add it, and repeat the assessment when it's done. If you don't have enough room for another, that's fine.

In your case, you did fit a number of drawings to each page, but you both made them quite small and left a lot of blank space.

The constructions on the first 5 pages of plant drawings, where you didn't get into detail, show a good grasp of how you're to build up your constructions bit by bit. You're drawing through your forms in their entirety, and establishing how each form relates to those around it. I have just a couple minor suggestions:

• As with your oak leaf, once you establish that outer perimeter as you did on this plant with the ellipse, you have to follow it. So in this case, those petals would be drawn with flow lines that end at the perimeter, and therefore so too would the petals stop at the end of the flow line.

• For flower pots, and anything cylindrical, construct them around a central minor axis line to help you align all your ellipses to one another. Also, remember that flower pots are not paper-thin, and so you're going to want to draw two ellipses to establish the rim at the mouth. An outer ellipse, and an inner ellipse, to create the illusion of thickness.

When getting into the detailed ones, again just a few minor suggestions:

• Remember that each and every textural mark should be a shadow shape. It's very tempting to just draw individual marks to capture our textures, but this has its issues. It'll make us less likely to respect the fact that texture is made up of shadow shapes, using implicit drawing techniques rather than outlines. It'll also make our textures appear more uniform in their thicknesses and less dynamic. Make a point of using this two step process for every textural mark.

• When it comes to areas filled with black, make sure that they are reserved only for cast shadow shapes. It's easy for students to unintentionally get caught up in either filling areas with solid black to capture something akin to their local surface colour, or to try and capture form shading, but using the same visual tool for multiple purposes will make its intent much less clear. Remember that our focus is not on decorating or creating pretty drawings - our job here is to communicate with the viewer. And therefore reserving one type of visual element to convey one specific kind of thing will get the idea across as efficiently as possible.

Now, I do think that your work would have been MUCH stronger had your drawings been bigegr, but all in all I'm seeing a lot of growth and understanding here. So, I'll go ahead and mark this lesson as complete.