Starting with your arrows, these are flowing really well with a great sense of confidence. Just be sure to compress the gaps between your zigzagging sections as shown here to better convey the sense of depth in the scene.

Moving onto your leaves, you've carried over this sense of fluidity and motion to capture not only how the leaves sit in space, but also how they move through space. I'm also pleased to see that you've built up the edge detail along the sides nicely, drawing each individual bump as an addition to the simpler edge, rather than trying to replace it with a single continuously zigzagging line.

Just one point in regards to your leaf vein texture here - you worked pretty exclusively with line there. You were on the right track in terms of drawing around the veins instead of drawing the veins themselves, but as discussed back in Lesson 2, the key is to work in cast shadow shapes rather than lines. You can actually see a direct example of this in the instructions for this exercise.

For your branches, while these are mostly looking good, you're missing the part of the instructions that states your line segments should go from one ellipse, past the second, and halfway to the third, then the next should start at the second ellipse and continue this pattern as shown here. As a result, you end up missing on the overlap between them that is intended to make the transition more seamless from one to the next.

Moving onto your plant constructions, these are by and large quite well done. The first thing that jumped out at me though is that a number of your drawings appear to have really thick lines, which suggests that either you drew with a different kind of pen, or more likely, you drew those quite small and cropped your image in tightly. There are two issues with that:

• It's really important that you draw big - this helps give our brain room to think through spatial problems without getting clumsy, and it also helps make it easier to engage our whole arm while drawing.

• I do assign the homework in pages, not drawings. Make sure everything you submit is photographed as a page, so I can see the edges. This will also help me assess how you're using the space available to you on the page.

Now, because those drawings are obviously more limited due to being smaller, I'm going to focus on drawings that were given more space. For example, this one has really nice fluidity to the flower petals, and the general construction is well done. I'm unsure why you added so much heavy line weight at the opening of the "cup" section of it though - in general, such bold areas of solid black should be reserved only for cast shadow shapes, like the ones we use in our textures. Line weight should be kept subtle and understated, and any areas of "local colour" that result in darker surfaces on your reference object should be ignored, instead treating the drawing as though it is covered in the same flat white.

One issue with this drawing - forms should not be represented as simple lines. They should all be drawn as forms. If that means having really, really slender branch structures, then that's what you'll need to draw.

Lastly, here you got entirely too caught up in the idea of drawing a pretty, detailed drawing of this flower and effectively abandoned all the principles covered in the lesson. You're not drawing the petals around their central flow lines, you're not drawing each form in its entirety to fully grasp how they all sit in space and relate to one another within that space, and you've gotten pretty derailed in your focus on outlining the patterns on the petals' surface.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Now, all in all you're moving in the right direction, but there are definitely points where you need to refresh your understanding of the material and the instructions. I'm going to assign a few pages of revisions before you move forward. You'll find them listed below.