Starting with the arrows, you're doing a good job of drawing these with a good deal of confidence - at least initially. When you try to go back over them with line weight, you tend to trace back over those lines more hesitantly, which imbues them with a sense of stiffness and rigidity. Avoid this kind of tracing wherever possible, and when it comes to the use of line weight, focus it only on areas where you want to clarify overlaps between forms, in specific localized areas. So in this case, you'd focus that line weight where the ribbon folds over itself, and draw it in such a way that it'd blend back into the existing strokes. Continuing to draw that line weight confidently will help by making the ends taper, letting the strokes blend back into the original linework.

One other thing - make sure you push the compression of space between the zigzagging sections further. You're doing it a little, but I feel like you can capture a greater sense of depth in the scene by exaggerating it, as shown here.

Continuing onto your leaves, these are coming along decently - you're for the most part capturing a similar sort of confidence to the flow lines and the original, simple silhouettes, to establish not only how the leaves sit statically in space, but also how they move through the space they occupy. I did however notice that you seemed to spread them across a number of different pages. There's the meat of your page of leaves here, though it's somewhat sparsely covered with plenty of additional room for more. Then you've got a few additional pages like this one and this one, with one leaf each. If I saw that from a student, I'd guess that they were trying to avoid "ruining" a page when tackling something they weren't sure about. If that's the case, then it may be in your best interest to force yourself to draw them on the same page anyway, as the fear of ruining a page is often the sort of thing to hold us back.

As it stands, you're handling the addition of edge detail, and the construction of more complex leaf structures quite well.

Moving onto your branches, while these are largely moving in the right direction, there are a couple things I want you to keep an eye on:

• Firstly, you have a tendency to draw those ellipses somewhat hesitantly, which causes them to come out more evenly. This often happens when we prioritize accuracy over flow, which as discussed back in Lesson 1 is the wrong order. Flow and confidence always comes first - though you can, and should, use the ghosting method to help you achieve greater control, while still executing those marks with confidence.

• Right now you appear to be drawing those ellipses with roughly the same degree. As discussed back in Lesson 1's ellipses video, the degree of these cross-sections will get wider as we slide away from the viewer along the cylindrical form. So in this case, those ellipses should be getting wider as we move away from the viewer.

• Remember that the main focus of this exercise is in drawing the edges such that they flow smoothly and seamlessly from one to the next. I'm actually a little unsure of whether you're doing this so well that I can't see most of the transitions, or if you're drawing one segment across many ellipses in some cases, rather than building it up with separate segments. I'll leave it to you to decide which is the case, but be sure that you're following these explicit steps when going through the exercise. I can see a few places where you aren't extending the segments that are visible fully halfway to the next ellipse, so keep an eye on that.

Going through your plant constructions, for the most part these are coming out well, but I do have a few concerns for you to keep in mind:

• First and foremost, when we draw small, we actually make things harder on ourselves. Our brains benefit from being given more room to think through spatial problems, and it also makes it easier to engage our whole arm while drawing our marks (making them more fluid and confident). Make sure that you're giving each drawing as much room as it requires on the page, and avoid making them really small and cramped as you did here - this can lead to clumsier linework and construction.

• In the daisy on this page, I noticed that you were keeping somewhat looser relationships between the phases of construction. You started with that ellipse, which is meant to define the extent to which the petals extend, but you ended up drawing the flow line to some arbitrary distance beyond its perimeter. You then also drew the petals themselves to some arbitrary distance beyond the end of the flow line. All of these steps of construction - drawing the ellipse, drawing the flow line, etc. assert answers to questions - for example, how long are these petals going to be. Make sure that if you end up working with an ellipse like this, that you draw the flow lines to its perimeter and no farther. And then, draw the petals such that they end right where the flow line does.

• Also worth calling out as a separate point - do not make your successive constructional steps darker. Stick to the same overall thickness throughout the whole process. We don't want to get into the situation where we end up replacing previous phases of construction with the new ones. Once your construction's done, you can always go back in with some additional line weight to help clarify how the forms overlap, as shown here.

• Make sure you draw through your ellipses. These eggplants ended up somewhat uneven - drawing them as ellipses, and drawing around the ellipse two full times before lifting your pen, would have helped you maintain a more even form. Also, don't add those arbitrary one-off lines along its surface. Remember that texture, as discussed in Lesson 2, is communicated through the use of cast shadow shapes. These are best designed intentionally, by drawing outlines for them first, then filling them in. When we draw arbitrary marks, we tend to think through them less.

• Save your areas of filled black for cast shadows only. When you see something with a dark local colour in your drawing, as you did here, it's best just to treat it like it's the same light or white colour as everything else. After all, we don't have colours to capture yellows, greens, reds, etc. so dark surface colours should be ignored as well.

• In most cases you've drawn your petals and forms in their entirety, which is good - it helps us to better understand how those forms exist in space, and how they relate to one another within it. In this drawing you strayed from this a bit, opting to cut off most of them where they were overlapped by others.

While you do have a lot of things to keep in mind here and work on, I feel that overall your work is demonstrating a good enough grasp of the core material that I will go ahead and mark this lesson as complete. I do however recommend that you give yourself some time to absorb the points I've raised here. Read through it now, and then read through it after a few days, or even after a few weeks to refresh your memory and let it sink in a little better.