Alrighty! Overall your work is actually very, very well done. Starting with your arrows, you've done a great job of capturing a sense of confidence and fluidity here, which carries over very nicely into your leaves. Before I move on however, I do want to stress the importance of letting the gaps between your zigzagging sections compress as we look farther back, and not being afraid to let them overlap as shown here.

Moving onto the leaves, as I mentioned you've done a great job of capturing here how they not only sit in space, but also how they move through the space they occupy. For the most part you've handled the matters of applying constructional steps to them fairly well, aside from a couple areas where the relationship between your various phases of construction were a little more loose.

Here are some notes about a few issues with your leaves:

• For the one I focused on to the far right, you're skipping constructional steps as explained here.

• For the one in the middle where you weren't drawing each form in its entirety, you can see a comparable demo here where I draw each leaf structure completely, even when they overlap.

Remember that construction is not about pretty drawings - it's about ensuring that we understand how all our forms relate to one another in 3D space, and how our object as a whole exists in three dimensions. Every drawing here is an exercise to improve our understanding of those three dimensions, and how the things we draw exist within that kind of space, rather than the flat 2D space of the page.

Moving onto your branches, these are looking great. You appear to have followed the instructions to a tee, so I have no complaints here. The resulting structures feel quite solid, and the fact that they maintain even, consistent widths throughout their lengths helps with that a great deal.

For the plant constructions themselves, I again don't have too much to complain about. Just a couple suggestions and things to keep in mind as you move forwards:

• On this page, the cactus towards the middle, along its sides you'd drawn the simple cylinder of its body, and then took that 3D form's silhouette and added those little adjustments to it along either side. The thing to keep in mind is that you need to be very careful about where you allow yourself to just tweak the silhouette. Reason being, the silhouette is a 2D element on the page - it's the footprint the 3D form leaves behind, and like footprints out in the forest, they can tell us a lot about the animal that left them, but once you make changes to it, you don't actually change the animal itself. You just make that footprint potentially less useful. Instead, construction focuses on actually adding new forms to that structure - in this case, wrapping bark around the form to actually create those changes in the form's silhouette. Build things up additively - don't take the shortcuts. Even when dealing with texture, where there's more leeway in adding those kinds of silhouette changes, we're still thinking about the forms that cause them, and this small change actually makes a world of difference to how we end up drawing them.

• A more minor point - when drawing your flower pots, or anything cylindrical, always construct them around a central minor axis line to help keep the ellipses aligned to one another.

• When it comes to the filled black areas of your drawings, always reserve these for cast shadows only. I know that there are some places where you might see something is black in your drawing, but that should be ignored. Just like you'd ignore it if an object had an area that was red, or blue, or green - all local colour information should be ignored, and the object should be treated as though it is all white, or grey, or whatever. Reserving our filled black areas for cast shadows also means that in cases like the tree on the left of this page, filling in your leaves also would not be recommended. By leaving those filled areas just for your cast shadows, we're able to make an agreement with the viewer that every such case carries some information about the relationship between the form casting the shadow, and the surface receiving it. Without getting muddied by other uses of the same tool, it can communicate that information far more clearly to the viewer.

Aside from those few points, you've done a great job, and you're demonstrating a really strong grasp of how you can combine these simple forms to create more complex structures that maintain the illusion of solidity. I'll go ahead and mark this lesson as complete, so keep up the good work.