Starting with your arrows, you're doing a good job of drawing these with confidence, which helps to convey the fluidity with which they move through the space. I did however notice that you seem to have more or less repeated the same general flow - not a huge problem, but some variety wouldn't hurt.

The confidence of your arrows carries over quite nicely into your leaves, where you're doing a good job of capturing not only how they sit statically in 3D space, but also how they move through the space they occupy. You're also generally doing a good job of adding edge detail, although I would advise you against the temptation to draw your initial construction lines more faintly, and tracing back over them more than is strictly necessary, as this can leave you susceptible to the temptation of redrawing the entire leaf at each stage. So for example, with this one you end up with a weaker relationship between the phases of construction, as you're redrawing way more of the leaf than you strictly need to. Try and keep the later phases of construction reserved only to adding the things that change, rather than redefining old choices you've already made.

Continuing onto your branches, your work here is quite well done - you're overlapping your edge segments and extending them each roughly halfway to the next ellipse, giving you ample room to achieve a smoother, more seamless transition from one segment to the next. Just one thing to keep an eye on - be sure to consider how the ellipses themselves should get wider/narrower as we slide along the length of the given tube. If you're unsure of how this would work, you can review the Lesson 1 ellipses video, which goes over this.

And finally, looking at your plant constructions, your work here is quite well done. For the most part, the only issues I'm seeing are the ones I've already mentioned:

• Avoid starting more loosely/faintly, then tracing back over those marks with darker ones to "commit" afterwards. While this is a valid approach outside of this course, here we are focusing on executing each mark with confidence, allowing the fineliners to behave as intended (that is, allowing them to create dark, rich marks, rather than taking advantage of the fact that they can produce fainter strokes when used at a lower angle, or when they're running low on ink), and focusing on creating solid structures every step of the way. So for example, here you ended up working more loosely initially (which does not create solid, 3D structures, but rather just marks/shapes on a flat page), then building upon that flat structure. This of course means that you can't be loose - every mark must be driven with clear intent, and your linework cannot be wasteful (as it is here). Always hold to the principles of markmaking from Lesson 1, and remember that this course does not involve sketching - it's about purposeful, intentional, planned strokes. This is how we develop our instincts - by being purposeful and intentional now, and taking the time required to do so. From this, our brain learns how to better function when time is more limited.

• For the plant on the left side of this page you end up zigzagging your edge detail back and forth a great bit, which as explained here is to be avoided, as it results in very weak relationships between the phases of construction, resulting in less of the simpler stage's solidity carrying forward as we build up complexity.

While your work certainly can be improved, you're still largely doing well. As such, I'll go ahead and mark this lesson as complete.