The one thing to keep in mind about construction as a whole is that our goal here is not to replicate the reference perfectly. It is to create something that feels believable to the viewer first and foremost, and in doing so, to communicate visually aspects of the object we ourselves are observing. So when it comes to getting things wrong, that's fine - as long as at the end of the day the resulting structure still feels believable, even if it's totally different from the reference, that's still a win as far as we're concerned right now.

So, starting with your arrows, you've done a great job of capturing how they flow fluidly and capture a strong sense of movement as they pass through space. You've also carried this over into your leaves as well, capturing a sense of not only how they sit within space, but also how they move through the space they occupy from moment to moment.

I'm very pleased to see that while in your first page there you only focused on the basic leaf constructions, you delved into greater edge detail and structural complexity in your second. There are a few things I wanted to point out however:

• Looking at the leaf towards the top left of this page, you zigzagged the edge detail quite a bit. In doing so, you ran afoul of these notes in a couple ways. Firstly, the jagged edges were passing back and forth over the simpler edge, making their relationship with it more tenuous instead of the kind of firm structural relationship we want between our constructional phases. Treat the previous phase as though it's the scaffolding of a building - the next level of complexity needs to adhere closely to it, rather than treating it like a loose suggestion. The other issue is that in zigzagging, it becomes very easy to go on auto-pilot and to forget about how those edges actually move through 3D space. As mentioned back in lesson 1, it's best to construct that kind of linework in separate segments, each with their own trajectory.

• For the leaf on the top right of the same page, you've tried to capture the veins along the surface of the leaves as a series of branching lines. The veins themselves are three dimensional tubes that sit along the surface of the object, and in being so, they are texture as discussed back in lesson 2. Therefore we must capture them using implicit drawing techniques, such as capturing the shadows they cast on their surroundings. Don't forget that - it may be tempting just to draw them as simple lines, but that is not an accurate representation of what they actually are.

Moving onto your branches, just one minor point - be sure to extend your segments fully halfway towards the next ellipse, rather than just a little past the previous one. Doing so allows for there to be a healthy overlap between the previous segment and the next, which is important in getting them to flow smoothly and seamlessly together, as shown here.

Oh, actually one other thing - definitely try to keep the width of the branches consistent throughout their lengths. The areas where you've got them getting narrower suddenly adds complexity to the structure, and in turn undermines the illusion of their solidity.

Continuing onto your plant constructions, you've largely done a very good job, and I'm very pleased with your overall results. You demonstrate a strong grasp of how the forms you're drawing exist in 3D space, and how they relate to one another, resulting in a strong illusion that each of these objects are three dimensional, rather than just flat drawings on a flat page.

There are a couple issues that I wanted to point out though:

• The drawing on the left side of this page was notably weaker than the rest, specifically because you opted to draw lines instead of forms for the branches. Lines are not three dimensional forms, and therefore it was not possible to establish a relationship in 3D space between those branches and the other elements. As a result, the whole thing largely just ended up feeling like a bunch of entities floating relative to one another.

• For the same drawing a minor point - for any two forms that you know intersect with one another, be sure to actually define that intersection. So in this case, the trunk and the soil itself should result in a contour line, allowing the viewer (and yourself) to understand how they relate to one another in space.

• When drawing the 'ridge' texture on the petals of the flower on the right side of this page, always remember that your textures are implied through the use of shadows - therefore every mark you opt to draw as part of a texture needs to be understood in terms of being a cast shadow shape, rather than a line. One thing that can help you remember and enforce that is to draw such marks using this two step process - that is, first outlining your shadow shape, then filling it in. By relying on a closed outline first, you can avoid the temptation to just put things in quickly with a basic mark.

Aside from these points, you're doing a great job. I'll go ahead and mark this lesson as complete.