Starting with your arrows, these are quite well done, capturing a strong sense of fluidity and confidence behind them. While the arrowheads coming in after the fact where a bit odd, you did a pretty good job of adding them as well, as most of them look well centered.

Continuing onto the leaves, the sense of fluidity from your arrows comes through here as well. You've captured not only how the leaves sit in space, but also how they move through it. I'm also very pleased to see how you tackled more complex edge detail, building it up in small additions rather than attempting to do so with single continuous edges replacing the previous phase of construction's lines in their entirety. You're doing a great job of using the previous phase of construction as a scaffolding, ensuring that its structure provides enough support for whatever additional complexity you wish to add.

The branches are similarly coming along quite well too, although I did notice some places where you weren't quite extending your edge segments fully halfway to the next ellipse, resulting in less of an overlap between it and the next segment. This overlap is important - as shown here it helps us achieve a more seamless, smooth transition from one to the next, so be sure to keep this in mind.

As would be expected given your extensive experience with this course in the past, your plant constructions are all in all very solidly done. There are just a couple minor points I want to draw to your attention, and they should help as you continue to move forwards.

Firstly, when it comes to line weight and how you draw your marks, I understand that it can be tempting to draw your initial marks more lightly, and to gradually get darker and heavier as you move through the constructional process so your last phase of construction is the darkest and most noticeable. There are a number of reasons why this is not a great approach, however:

• First and foremost, all of these drawings are exercises in spatial reasoning, and so making choices that favour the end result in this manner can, without us realizing, cause us to undermine some key parts of the exercise itself. For example, the importance of drawing those marks with confidence, and to ensure that we're not wasting any focus on purposely making marks more lightly than we need to, so that cognitive capacity can be spent on more important things.

• If we look at your bok choy plant, you'll notice that at a glance, the lines almost look like they've got little gaps in them. Looking closer, we'll see that the line is indeed solid and complete, but that certain lengths are visibly darker, making the bits in between look like gaps from afar. Of course, if the initial phase of construction were drawn with confident, dark lines, rather than fainter ones, this wouldn't be a problem. You'll notice that in all of my demonstrations, I purposely draw using a brush that makes each and every mark as dark as possible - the variation is only in its thickness. Generally speaking a decent fineliner will behave in this manner as well, though as it dries out, it may allow for fainter lines - though this isn't something we should be taking advantage of.

As a side note, when adding actual line weight, we can sometimes run into issues where we get these kinds of sudden jumps in thickness (since line weight is only ever added in limited, local areas of existing lines, so inevitably we have to somehow transition from one weight to the other). We can achieve these kinds of smooth transitions by ensuring that in drawing with a confident pace, our marks taper as they start and end, as explained here.

The other point I wanted to mention is in relation to the texture along the silhouette of this cactus. Always make sure that when you're adding little bumps and such, that you're adding them to the exterior of the silhouette of the form. Don't cut back into the form's silhouette, as this can actually tell the viewer that they should be interpreting it as a flat shape. The silhouette itself is like the footprint a form leaves behind - not the form itself. Any interaction we have with a form (especially cutting back into it) needs to constantly reaffirm and reinforce the idea that it is three dimensional by running along its 3D surface (as contour lines do). By simply adjusting the silhouette to cut back into it, this contradicts the idea that the form represented on the page is three dimensional.

Long story short, make sure those little bumps along the silhouette build on top of the form you've already drawn.

With that all in mind, I'll go ahead and mark this lesson as complete.