Starting with your arrows, these are definitely drawn with a great deal of confidence, which helps to establish how they flow through the world. That said, I would definitely play around more with foreshortening more - both the parts of the arrow and the gaps between the zigzagging sections closer to the viewer should be exaggerated in their scale, while getting smaller as they move farther away.

That sense of fluidity carries over quite nicely into your leaves, where you've done a good job of establishing not only how they sit statically in 3D space, but alaso how they move through the space they occupy. You also appear to be handling the addition of edge detail fairly well, though the very heavy line weight does make it kind of hard to tell as clearly as I'd like. In general, try to keep the thickness of your lines from one step of construction to the next relatively consistent - don't increase thickness/pressure as you progress through the stages. Line weight is of course a great tool to use, but it's best to add it at the end of a construction, and specifically focus it on clarifying how different forms overlap one another, limiting it to the localized areas where those overlaps occur as shown here with these two overlapping leaves.

One thing I did notice, which is worth pointing out, is that when you explore more complex leaf structures (where we have many different "arms", each of which are defined as their own leaves, you appear to be skipping the step of first defining the overall footprint of the leaf as a whole. You can see this in action both here and here, but in your own work, here's what you're missing. It serves an important purpose - to define how far out each sub-leaf should extend.

Continuing onto your branches exercise - well, it appears that you haven't included this one in your submission, so I will be needing to see that before I can mark this lesson as complete.

And finally, moving onto your plant constructions, you are generally doing a decent job, although there are a small handful of things I would like to call out:

• Most notably, I do get the feeling that when you tackle especially complex plants with a lot of individual forms at play - like this sunflower - you seem to put less time into each individual stroke, causing the linework to feel somewhat clumsier. Keep in mind that regardless of how complex a drawing might be, you are still required to invest as much time as you need to execute each mark to the best of your current ability. Sometimes students get the impression that they're expected to complete a drawing before they get up from a session - but of course there's no actual basis for this. Instead, it is your responsibility to give each drawing as much time as it requires, spreading it across multiple sessions and days as needed. Just to be clear - you're approaching construction here fairly well, but I definitely feel you can do better in the execution of each individual mark, given more time.

• Do not forget to draw through each and every ellipse you freehand throughout this course two full times before lifting your pen. You frequently forget to - although in some cases, you do the opposite and draw through some ellipses way too many times, to the point of losing track of the ellipse you were meaning to draw.

• When dealing with cast shadows, like in this potato plant, be sure to be consistent and have all the forms (or most of them, within reason) cast shadows. It seems here you only followed the potato plant demo to a particular point, then stopped, instead of seeing it through to the end (where we did indeed add those cast shadows).

• When constructing cylindrical flower pots (like this one), be sure to construct them around a central minor axis line to help with aligning all of the ellipses you'll need. To that point, a flower pot is more than just a simple cylinder - it would require at the very least an additional ellipse inset within the opening to define the thickness of the rim, as well as another to define the level of the soil so the plant itself can be grounded against it.

• Also, if a form gets cut off the edge of a page, actually cap it off rather than leaving it open ended. An open end tells the viewer that they're looking at a flat shape on a page - whereas with that same flower pot, if you added another ellipse to close off the bottom (even if that was not the actual bottom of your reference), it would help to reinforce the solidity of the structure.

• This one's not a correction or a mistake within the context of this lesson, but it is important to keep in mind going forward - in regards to these cactuses, I'd encourage you to give these notes from the lesson's informal demos page a read.

Now, as I mentioned, before I can mark this lesson as complete, I will need you to submit the branches exercise. I assume it was left out by mistake, but I would also take this opportunity to double check the instructions for the exercise and make sure that you applied them correctly. If you find that you missed something stated there, you may want to take another swing at the exercise prior to submitting them, just to save us both some time.