Starting with your arrows, you're definitely doing an excellent job of drawing these with a strong sense of confidence and fluidity. I am noticing though that you're not compressing the spacing between your zigzagging sections as they move away from the viewer, as shown here. Remember that they are subject to foreshortening, and exaggerating that compression will help sell the illusion of depth in your scene.

You definitely do a great job of capturing that sense of fluidity in your leaves as well, where you capture not only how they sit in space, but also how they move through the space they occupy. There is one major issue in how you're approaching more complex edge detail that stands out however.

When you take a simple edge and seek to introduce complexity to it, you should not be redrawing the edge in full. This results in a weak relationship being tied to the structure of that previous phase of construction. We want to maintain a strong relationship with it because that is how our structure maintains its solidity. This principle is explained in these notes, but I also drew a quick explanation of the same concept on another student's work that should apply here as well: https://i.imgur.com/Csockm9.png . Notice how the coloured diagram in the bottom right depicts a different phase of construction with each colour. Green for the initial construction, then blue, then red. At no point do I redraw the entire edge, I merely add the parts that change and I ensure that they come off the simpler edge and return to it. No one stroke captures much complexity on its own, but by building it up bit by bit, we're able to eventually achieve the complexity we're aiming for. That's why the blue line exists as a step - to ensure that each stroke is kept simple.

Another thing to keep in mind is that you should never try and capture any form as a single line - in this case, I'm talking about the veins of your leaves. The marks we use to draw such textures are always the shadows being cast by a given form, but often times students will try and capture the veins as a basic pattern of branching lines. Be sure to avoid this wherever you can.

Continuing onto your branches, there are a couple things I want to draw your attention to:

• You generally do a good job of this in most places, but for the few places where you don't, always try and keep the width of your branch consistent throughout its length.

• Make sure you're always extending each segment fully halfway towards the next ellipse. This is specifically so we can end up with a nice overlap between the two segments, which as shown here helps them to flow from one to the next smoothly and seamlessly.

While I do agree that there are visible signs that you're not necessarily taking your time with each individual stroke (applying the ghosting method to every mark you draw is very important), you are otherwise doing a decent job. Just remember that there are no deadlines and no restrictions on how long you can take for a task. When getting into more complicated drawings, it's not uncommon for students to feel that because they're drawing something more involved, that each individual mark will require less time/attention. This is not true - every mark should always be drawn with as much time and attention as it requires to be done at the best of your current ability. If that means you need to split up a given drawing over more than one session, then that's entirely fine.

Going through your plant constructions, for the most part you're doing a pretty decent job. There are a few issues I will point out to help keep you on the right track, but all in all you're moving in the right direction.

Looking at this drawing, the issue I raised previously about zigzagging your edge detail and replacing lines instead of building atop them is definitely present here with your leaves. Additionally, when constructing things like flower pots or vases that are made up of a series of ellipses aligned to one another, make sure you construct them around a central minor axis line. I am however very pleased to see that you built out a number of ellipses to create the illusion of thickness at the rim of the pot.

Another major concern is with your use of solid, filled black shapes. These filled shapes must be reserved only for cast shadows. There will inevitably be situations where you see a darker part of an object's surface, where its local colour is black or something similar. This should be ignored - treat the entire surface of an object as though it is made up of the same flat white or grey colour. Everything we're drawing here serves to convey information about 3D forms - meaning that by focusing only on cast shadows when drawing those filled shapes, we're implying the presence of little forms. Anything that doesn't contribute to the actual physical forms of an object gets ignored.

Aside from those points, your work is coming along well. I'm especially pleased with the mushrooms on this page - while they're also zigzagging those edges improperly, the core construction is simple, but solidly built.

I'll go ahead and mark this lesson as complete.