Starting with your arrows, you're doing an excellent job of drawing them with a great deal of confidence, and really capturing how they move energetically and enthusiastically through the 3D space in which you're working. This carries over nicely into your leaves as well, where you're not only capturing how they sit statically in space, but als how they move through the space they occupy.

From what I can see, you're also putting a good deal of effort into building up the more complex edge detail directly onto the edge from the previous phase of construction, producing each bump or spike or cut with a separate stroke rather than attempting to redraw the leaf in its entirety. This helps you maintain a lot of the solidity from the previous phases of construction, even as you build up to greater levels of complexity.

Just be sure to avoid cases where you overshoot that previous edge, as you did here. You want each addition to merge back into the previous edge with a fair bit of precision - so investing more time into the planning and preparation phases of the ghosting method is certainly warranted.

Continuing onto your branches, your work here largely seems to be well done. You're fairly mindful of extending your segments fully halfway to the next ellipse (although there are a few places where you fall a little short). There are two things I want you to keep in mind however:

• Remember that the degree of the ellipses themselves represents that circular cross-section's orientation in space, as explained here back in the lesson 1 ellipses video. So, if you've got a wider ellipse, that tells us that the branch is coming more towards the viewer, rather than moving across their field of view. Therefore you need to be aware of the kind of trajectory you're producing through the world, and should ensure that your cross-sections' degrees match up with it.

• Try to use the last chunk of the previous segment as a runway, overlapping it directly as shown here, before shooting off to the next target. This will make things a touch more difficult, since you're building directly onto the mistake you may have made with the last mark, but in doing so, you'll learn from that mistake more directly as well.

As a whole, your work throughout the plant constructions are very well done. You're holding tightly to the principles of construction, and as a result your drawings feel solid and entirely well thought out, with a great deal of attention to how all the different forms relate to one another.

One small suggestion I have in cases where you end up "cutting" into the silhouettes of petals and leaves, as you do for the flower on the left side of this page is to think of it not as though you're constructing a new petal inside the simpler silhouette/scaffolding, but rather that the simple form already constructed is made out of paper, and you're merely cutting into it with a pair of scissors. Every line you add that cuts back into the silhouette is simply a path for the scissors to follow - you're drawing and defining the cuts, not a whole new petal. That will help your subtractive constructions feel more solid and structurally sound.

Of course, that manner of subtractive construction, or really alteration of a form's silhouette is only something that can be used when working on objects that are already flat (like petals and leaves). As explained here, it has a tendency to flatten out more voluminous structures. I just figured I'd mention that now - I didn't see any issues in regards to it in your work, but it will be more relevant when you get into the next lesson.

Anyway, as I said, your plant constructions here are very well done. I'll go ahead and mark this lesson as complete.