Jumping right in with your arrows, this is off to an excellent start. You're drawing these with a great deal of confidence and fluidity, which helps to convey the sense of motion with which they push through space. This carries over nicely into your leaves, which similarly does an excellent job of not only establishing how each leaf sits statically in 3D space, but als o how they move through the space they occupy.

When it comes to your addition of edge detail, by and large you've done very well with this too, except for a couple places. You definitely hold to the principle that every addition should flow out of the existing structure, and return to it, creating a seamless extension of that silhouette. As a whole, you do a good job of avoiding issues like zigzagging your edge detail... but there are some tricky situations where in effect the same result occurs.

If we look at this leaf, I've colour-coded a few distinct strokes. One red, one blue, and another red. Each one was, correctly, separate. But they still effectively flow from one, to the other, to the last, creating a single continuous wave, and effectively zigzagging back and forth across the edge. It all comes down to maintaining very tight, specific relationships between the different phases of construction.

This can sometimes result in a bit of a balancing act, forcing you to make a choice - do I want to replicate my reference as closely as possible, or should I make a few adjustments for the sake of creating a more solid, believable, 3D structure? The latter is always more important. Ultimately our drawings throughout this course are just puzzles - starting simple, building things up to work in the direction of our reference image, but the goal is always to create something solid and believable. The piece of reference is just a source of complex, realistic information - one that we should pay careful attention to and look at almost constantly, but ultimately something we use to help us make choices, not to make those choices for us.

Continuing onto your branches, these are by and large well done, with a couple things to keep an eye on:

• Firstly, be sure to always extend y our segments fully halfway to the next ellipse. You often stopped short by quite a bit, and in some cases you just had them stop at the ellipse. Note the specific pattern explained in this diagram, and strive to follow that to the best of your ability.

• Secondly, keep in mind that the degree of the ellipses in a tube will get wider as we slide away from the viewer. This is explained in the Lesson 1 ellipses video.

As a whole, your work throughout the plant constructions is fantastic. You're holding to those constructional principles very well, and that leaves me with very little to call out, but I do have a couple quick points to share:

• While this one's important, it's made minor by the fact that you actually correct it in your own work. That said, it still bears mentioning. The ellipse at the top of this hibiscus drawing serves a purpose - it's not just an experiment or exploration, but rather an assertion, or an answer to a question. It's a ball form that you've constructed, and its purpose is to establish exactly how the little buds ought to be arranged in space - specifically, giving them a surface to attach to. This also means that they must follow that assertion, and thus must all be placed along the surface of this ball form, rather than be left to float loosely within it. This is very similar to what we see with the flowers on this page, where you've correctly established those ellipses as the extremity to which each petal extends. Each petal extends to a specific defined ellipse, so you took this concept even further than just working with one, clearly showing your understanding.

• When it comes to line weight, I highly recommend being more reserved and conservative with it. It's tempting to use go back over longer stretches of existing linework to emphasize them, but I find at least in the context of this course, it's best to reserve line weight for helping to clarify how different forms overlap one another. Thus, we can focus it in the specific, localized areas where those overlaps occur (as shown with these two overlapping leaves), generally keeping it quite light and subtle and allowing it to blend back into that linework. In cases like this, you have a greater tendency to go back over your lines to separate them from the prior constructional steps, which somewhat undermines the role those earlier steps play in building up the existing structure. Also, be sure to stick to the same general line thickness as you build up your construction - reserve line weight itself for a separate pass once your construction is complete.

Aside from that, you're doing very well and should be quite proud of your work. I'll go ahead and mark this lesson as complete.