Starting with your arrows, you're doing a good job of executing these with a good deal of confidence, which helps to push the sense of fluidity with which they move through the world. I am noticing a couple spots however where you fall into the issue explained here, where you're stretching one side of the arrow and compressing the other, rather than twisting the arrow to allow its sides to remain the same length.

Continuing onto your leaves, your initial leaf shapes carry forward that same confidence, which helps to capture how each one not only sit statically in 3D space, but also how they move through the space they occupy. That said, when it comes to pushing forward into more complex edge detail, you very frequently approach it as though you're redrawing the entirety of the leaf in each constructional step (we can see this here and here). This results in you frequently zigzagging your edge detail, resulting in a weaker relationship between the phases of construction which does not allow the solidity of those earlier phases to carry forward from one stage to the next, as we build up more complexity.

Remember - what we're doing here is all about thinking in 3D space. The initial leaf structure we start out with is like a form cut out of a piece of paper, and as we build up edge detail, we're either adjusting those edges (by adding individual segments that rise off and return to that existing edge to alter the given silhouette), by cutting into the form (as shown here, where the new lines we establish define the path a pair of scissors would follow to make the desired change)), or where we add something - like a thorn or a spike - to the existing silhouette (as shown here).

Continuing onto the branches exercise, I have a few concerns here as well:

• This exercise focuses heavily on how the edges themselves are drawn - specifically having them drawn such that each one starts at one ellipse, continues past the second and stops halfway to the third, with the next one repeating the pattern from the second ellipse. This results in a healthy overlap between the segments, which, as shown here helps us to achieve a smoother, more seamless transition. You frequently either have your edge segments not extend fully halfway to the next ellipse, or not start far back enough, or both - resulting in a very limited overlap.

• I suspect you might not be considering the way in which the degree of your ellipses ought to shift as it comes towards or moves farther away from the viewer, as well as when the branch structure itself turns through space. You may want to review the Lesson 1 ellipses video, which goes over the way in which the degree of an ellipse corresponds with its orientation in space relative to the viewer, and why this results in a shift in degree as we slide along the length of a cylindrical structure.

These issues do continue to persist through your plant constructions, though I'm noticing some other bits of peculiarity. What stands out most of all is your tendency towards drawing with a lot of very straight lines, resulting in a very angular appearance to everything you draw. This is very clearly a stylistic choice, which is certainly a valid one outside of this course, but what we're doing here is devoid of stylistic decisions. We execute our marks using the ghosting method, engaging our whole arm from the shoulder, as discussed back in Lesson 1, and the nature of the marks we draw are entirely dependent on what the object we wish to draw demands. There are many situations where a shorter straight line is desired, but it is fairly apparent to me here that you are forcing that choice upon the situation, rather than going with whatever the reference image itself calls for.

I'm also noticing that with this heavy focus on shorter, stiffer lines, you're not really executing the flow line of your leaves with the kind of confidence that it demands. That flow line's purpose is to establish the manner in which the structure it governs moves through space. When drawing it, your only focus should be on conveying that sense of movement with a continuous, confident stroke. You handled this well in your leaves exercise, but there are many elements that are prioritized by the lesson that may have taken more of a back seat due to the way you may feel more naturally inclined to draw. Again - stylization is great, it simply doesn't belong in the work you do for this course, because each drawing we do here - including the constructions themselves - is an exercise, geared towards developing the manner in which your brain perceives the things you draw as existing in a 3D space.

Additionally, I'm noticing a very heavy use of line weight, that goes beyond the manner in which we employ it in this course. As explained here, it's best to focus line weight only on the specific task of clarifying the manner in which our different forms overlap one another, limiting its use to the localized areas where those overlaps occur. Avoid more generally reinforcing the silhouettes of your forms, and always be sure to keep your line weight subtle. Line weight serves to whisper to the viewer's subconscious, to give it a subtle suggestion, rather than a very overt shout. Areas like this definitely push it much further.

When it comes to adding detail, there are plenty of situations where you're making good use of cast shadows, along with others where you tend to shift more towards form shading, which as discussed here should not play a role in our drawings for this course. I recommend that you reread these notes to ensure that you fully grasp what exactly texture is meant to focus upon.

Before I finish up, here are a few other quick points to keep an eye on:

• Do not forget to go around your ellipses two full times before lifting your pen. You are pretty good at doing this generally, but I wanted to call it out anyway as you neglected to do so with this cactus demo attempt, resulting in some rather uneven shapes.

• Draw each and every form that is partially visible in its entirety. So for example, if you have a bunch of leaves, draw them all completely. This will help you more fully grasp how they individually sit in space, and how they relate to one another within that space. Just remember - what we're doing here are spatial puzzles, and those forms we cannot see completely still continue to exist in 3D space even where we cannot see them.

• When drawing a cylindrical flower pot, or any cylindrical structure, be sure to construct it around a central minor axis line, to help you in aligning all of your ellipses. Also, be sure to draw each ellipse in its entirety, drawing through them two full times.

Unfortunately while mistakes or skipped instructions aren't entirely abnormal, I do think that your work here suggests that you may have gone into this lesson with expectations that were not entirely accurate, and it resulted in you deviating from those instructions in significant ways that will have impacted how effectively you absorbed the information being shared, and the concepts the exercises were meant to develop. As such, I am going to have to ask you to redo this lesson in full.

When you are done, you'll be able to submit it as a new submission, which will cost you an additional 2 credits.