Starting with your arrows, you've drawn these with a great deal of confidence, which has helped to establish the way in which these arrows push through all three dimensions of space with a strong sense of fluidity. This carries over quite nicely 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. Furthermore, when it comes to building up edge detail, you've generally done a good job here, with a lot of cases where you've built up additional edge detail one stroke at a time, though you do have some spots where you've zigzagged a little more, going back across the previous edge, resulting in a weaker relationship between the different stages of construction. You can read more about this issue here.

In general, try to avoid the mindset that we're redrawing chunks of the leaves each time - rather, we're simply building upon the solid structure that was established in the previous stage. So for example, in the case of this leaf where you ended up redrawing the entire leaf as a whole within the framework of the simpler leaf shape from the previous step, you might have instead treated your new marks more as the path a pair of scissors would follow if you were to cut out this leaf from the simpler shape. You can see what I mean in this demonstration.

Continuing onto your branches, you're doing decently here, but there is one issue in how you're applying the instructions. As explained here, each segment is to be drawn from one ellipse, past the second and stop halfway to the third. Then the next segment starts at the second ellipse and repeats the pattern, providing a healthy overlap between them of about half the distance between the ellipses. You appear to often start your segments much further along, minimizing that overlap and missing the opportunity to achieve a smoother, more seamless transition from one to the next. For example, we can see such a situation here.

Overall your plant constructions are coming along quite well. There are a few issues I'll call out, and I'll call them out below, but all in all you're demonstrating a good grasp of the processes we're employing here, and the nature of the constructional drawing exercise.

Before I get into calling out those issues, your construction for your succulent is generally fine, and I don't think a demo is required here for the two main issues I'd call out:

• Try not to be this aggressive with your line weight - its purpose is not to distinguish the construction from the "final drawing". Instead, we can use line weight more effectively by focusing it on a more specific purpose - I find using it to help clarify the way in which different forms overlap one another to be especially effective, especially when we limit its use to the specific localized areas where those overlaps occur. You can see an example of what I mean here with these two overlapping leaves.

• I wouldn't incorporate the little point into the initial simple shape for the leaves, as it increases their complexity more than is required. Instead I'd build that up on the next step onto a basic rounded leaf shape, as shown here. Also, I added into the third step where I'd use a contour curve on at least some of them to help establish the thickness of the succulent petals, which we achieve through the way in which that contour line accelerates in its curvature and hooks around near the edges.

Oh, also it does look like you used ballpoint here - if you did, remember that Lessons 2-5 must use fineliner for each drawing. Since you did so for the others, I'm assuming you just didn't have one on hand at the time, but in that case you should not include those drawings in your homework submission.

Looking at the plant constructions at large, here are the main things to keep in mind:

• In your edge detail for this plant, you ended up skipping through some steps. Remember that the constructional process is not necessarily going to follow 3 rigid steps of flow line, simple shape, edge detail. It's a concept that focuses on only ever adding as much complexity as can be supported by the existing structure, and progressively building up that complexity in successive phases. So here, we'd approach it by creating simple bumps, then adding yet more bumps onto that as shown here.

• Try not to be sloppy when putting down marks that don't seem super important. For example, the cast shadows on these pebbles from your cactus drawing can certainly have been done better. If you deign to put a mark down, you should do so with care. When it comes to cast shadow shapes, especially when getting into more textural applications, it helps to approach them by first outlining/designing a specific cast shadow shape, then filling it in, rather than painting it onto the page with individual strokes.

• When constructing any cylindrical structures like flower pots, be sure to build them around a central minor axis line, to help keep your ellipses aligned to one another. Also, it helps to include at least an additional ellipse inset within the opening of the pot, to establish the thickness of the rim, and even another to establish the level of the soil (if it's visible), to give your plant or its stem something to intersect with and ground itself.

Aside from that, your work has come along quite well. I'll go ahead and mark this lesson as complete.