Starting with your arrows, you've done a great job here of drawing them with a great deal of confidence, which helps to establish the fluidity with which they move through the world. This carries over quite well into your leaves, where you're not only capturing how they sit statically in 3D space, but also how they move through the space they occupy. One minor concern I do have in regards to your leaves however, is the way in which you're approaching the addition of detail to these - you're building up a lot of individual lines, kind of scratching on the impression of textural information. Remember that as discussed back in Lesson 2, we want to focus primarily on implicit markmaking techniques. That is, where each mark is a shadow shape - a specific shadow shape, cast by a specific textural form. This means that first and foremost we have to identify the textural forms that exist on the surface of our object, so we can better design the shadows they cast.

To that point, it helps a lot to purposely approach drawing each shadow shape in two steps - first outlining, then filling it in. This will help you think more consciously about the relationship between each textural form and the specific shadow shape they cast, while also keeping you from the temptation of simply painting detail on with individual strokes.

Continuing onto your branches, while these are coming along well, there are two main things to keep in mind:

• Firstly, make sure that you're extending each edge segment fully halfway to the next ellipse, as explained here. This will help you to achieve a smoother, more seamless transition from one segment to the next.

• Secondly - and this isn't a consistent issue, but it does come up in some of your branches - remember that as we slide along the length of a given cylindrical structure, moving away from the viewer, the degree of those contour ellipses will shift wider. The reasoning for this is explained back in the Lesson 1 ellipses video.

Continuing onto your plant constructions, overall you're doing a good job - you're applying many of the core principles of construction and doing so effectively as you start your constructions off from simple parts, and gradually build up that complexity. There are however a couple things I want to stress as you move forwards, to ensure that you continue getting the most out of these exercises, and out of the course as a whole.

The first thing I wanted to remark upon is the fact that you're currently breaking your drawing into two distinct phases - one for much fainter linework, and then another mark with much darker strokes that appear to commit to the marks you wish to keep. Back in Lesson 2, I briefly mention that this approach is not one you should be using in this course. It's not that the approach is somehow bad or wrong, and you can certainly use it for your own drawings outside the course, but it simply interferes with certain aspects of what we're trying to focus on.

Sometimes students will treat their use of line weight as one of these "clean up" passes - instead, line weight should be used far more minimally, concentrating it in the specific, localized areas where overlaps occur between forms as shown here with these overlapping leaves.

Now, this does also mean that you will need to be a little more thoughtful about how you make your marks - I noticed that your linework in the underdrawing was especially confident, but perhaps a little less conscientiously planned than it should have been. You may have allowed yourself this leeway because of how faint the underdrawing was - but if you are to draw everything with the same confident stroke, it cannot be hidden so easily (one of the reasons why we stress the use of a 0.5mm fineliner). So, be sure to use the ghosting method for each and every constructional mark, ensuring that you go through all three stages - planning, preparation, and execution.

The other point was a more minor concern - just make sure that you keep the relationship between your phases of construction specific and tight. That is to say, if your flow line ends at a particular point, make sure that the petal also ends at that point, rather than leaving an arbitrary gap between them. By keeping those relationships tight, we're able to carry more of the solidity generated by the simplicity of those lower levels forward as we increase the complexity of our construction.

As it stands, your drawings have an exceptional sense of fluidity and three dimensional presence - it's just these little gaps and bits of imprecision that hold it back.

As a whole, you're still doing a great job. I'll go ahead and mark this lesson as complete, and leave you to address what I've mentioned here in the next one.