Starting with your arrows, you're doing a pretty good job of drawing these with a fair bit of confidence, which helps you to capture the manner in which they push fluidly through the world. That carries over fairly well into your leaves, although I did note that while these do capture the manner in which they move through the space they occupy, they are a little more stiff than your arrows, so be sure to consciously try to exaggerate the fluidity of the initial flow line (even if the leaf in your reference feels particularly flat or stiff - sometimes we have to push beyond what we can literally see in front of us to capture more accurately the sense of liveliness that was captured in the photo, simply because our eyes aren't yet attuned enough to pick up on the more nuanced and subtle elements that are present).

When it comes to adding more complex edge detail, you're handling some of these fairly well by building off the existing structure with separate marks for each bump, although I did notice your linework had a tendency to get kind of hesitant and stiff when doing so. Even if it sacrifices your accuracy, be sure to execute each mark with the ghosting method, allowing for a confident and smooth execution.

When you get into more complex leaves (like these), you appear to fall into the same mistake of maintaining looser relationships between the different phases of construction. Construction is all about maintaining tight, specific relationships, where each step defines specific assertions about what is being drawn. The tendency here of having elements of the leaf stick out to some arbitrary distance beyond the initial leaf shape is the issue.

For the top of these two leaves in particular, you appear to be kind of hedging between actually treating it like a complex leaf structure (like those shown here and here), and in treating it like a normal leaf with pieces cut out of it.

If we want to approach this as a complex leaf, then you'd draw a flow line for each "sub-leaf" (which you kind of did), extending right to the edge of the larger, simple leaf shape, then construct a complete, separate leaf around each one, ultimately merging them together into a single cohesive structure (as partially shown here). If instead we wanted to treat it like a single simple leaf with complex edge detail, then we'd tackle it as shown here, adhering to the structure of that larger leaf shape rather than drawing a completely new and separate leaf on top of it. I would probably go the former route, with the separate leaf structures, as it lends itself better to this kind of situation.

The main thing to keep in mind is that every constructional step must hinge on the one before it. We cannot leave arbitrary gaps or work "close-enough". Every step answers questions, and if we provide new answers to questions we've already answered in a previous step, we introduce contradictions to our construction and undermine the viewer's suspension of disbelief.

Continuing onto your branches, I did notice a few issues that stood out here:

• You're not extending your segments fully halfway to the next ellipse, as shown in the instructions here. At times, you also have a segment start where the previous one ends, eliminating the overlap which is necessary to achieve a smooth, more seamless transition from one segment to the next.

• Remember to draw through each ellipse in its entirety two full times before lifting your pen. Sometimes you only draw around the shape once, and more often you'd do it about one and a half times. This applies to all ellipses we freehand throughout this course, as discussed back in Lesson 1.

Continuing onto your plant constructions, these are largely well done, with a few small issues I want to call out:

• When adding edge detail to your leaves, be sure to avoid any zigzagging back and forth. It doesn't occur often, but I did notice a little of it here in this drawing. Also, refrain from making later phases of construction (like that edge detail) darker or thicker than the earlier construction The key point to remember is that you're not replacing the earlier phase of construction with new lines, but rather building off what's already there. Keeping it all the same line thickness will help maintain a more cohesive appearance.

• For cases where your reference image has a lot of the same kinds of structures repeated (like here), feel free to focus in on a specific part of it, maybe a cluster of two or three of the flowers, so you can study them at a much larger scale. Working large helps engage the brain's capacity for spatial reasoning, while also making it easier to engage your whole arm while drawing. When you end up forced to draw smaller, it can lead to more clumsiness in one's linework and construction.

• When it comes to texture, remember that texture itself is the result of specific forms present along the surface of a given object, and the marks we draw to convey it are all cast shadows. I can see you attempting to adhere to this idea to varying degrees, but you do end up deviating a little too. In the bottom right leaf of your seaweed plant, you're definitely trying to do this correctly, but as you get into the more sparse territory, you end up drawing a bunch of lines that branch out from one another. When drawing actual cast shadow shapes, you wouldn't end up with a single shadow that continues unbroken for so long. Be sure to be aware and cognizant of the specific form casting a given shadow as you're drawing it. With leaf veins, it usually works best to focus on the individual shadows that occur where the veins branch out, as you can see in example from leaf exercise instructions.

All in all you're definitely moving in the right direction, but be sure to keep these points in mind. I'll go ahead and mark this lesson as complete.