Starting with your arrows, these are quite well done. You've drawn them with a great deal of confidence, which has helped to capture the fluidity with which they move through the world. This carries over quite well into your leaves, where you're not only capturing how they sit statically in 3D space, but also how they move through the space they occupy.

As a whole you've done a pretty great job in capturing the more complex edge detail as well, ensuring that each bump is drawn with individual strokes, rising off and returning to the existing silhouette. There's only one case - the one right in the middle of the page - where you ended up trying to incorporate more complexity in a single stage than was strictly supported by the existing structure, as shown here. Instead, to build up such edge detail, you'd do so in separate stages (as shown by the colour coding, with the first stage in red, second stage in green, third stage in blue).

Continuing onto your branches, your work here is largely very, very well done. You're adhering to the points raised in the instructions - extending your segments fully halfway to the next ellipse to help achieve smoother, more seamless transitionis from one to the next. I have two suggestions to help you continue building upon this:

• Right now you're ending up with a lot if visible "tails" towards the end of each segment. What you can do to help resolve this is to draw your next segment right on that tail, overlapping it directly and using it as a runway before launching off to the next target. That is, instead of drawing where that previous segment ought to have been. By incorporating the slight mistake, you're forced to deal with it, which will in turn help you pay more attention to what you need to avoid it in the first place.

• For the contour ellipses themselves, remember that as discussed in the lesson 1 ellipses video, the degree should gradually get wider as we slide along the tube moving away from the viewer.

Moving onto your plant constructions, as a whole you're holding up the trend of your work being quite well done, and as a whole you're demonstrating a well developing grasp of 3D space. There are however a few things I still want to call out to help you continue moving in the right direction.

• For the leaves in this page, I'm noticing that the approach you're using here is quite different from how you approached the edge detail in your leaves exercises. Here, instead of building directly onto the existing structure of the simple leaf silhouette, you appear to be drawing an entirely new leaf within its confines. This results in a much weaker relationship between the phases of construction (similarly to what happens when we zigzag our edge detail as discussed here). For leaves like this, we'd be treating our edge detail marks as though they were the paths followed by a pair of scissors as we "cut out" our resulting leaf shape, as shown here.

• Another point relating to the previous one is that you at times (especially in those leaves) have a tendency to increase the thickness of your linework as you progress through stages of construction. This should be avoided, with line weight instead being added as its own pass once you're finished your construction. Line weight is best used, at least with consideration to our limited tools in this course, to help clarify how different forms overlap one another in 3D space. We can focus our line weight right at the localized areas where these overlaps occur, as shown with these two overlapping leaves. The key is to use as little line weight as possible to get the impression across.

• This one's not really a mistake, but rather something you may not have been entirely aware of (as it isn't actually mentioned in the lesson material). When we pick the subject we're going to be drawing, we aren't required to draw the entirety of a given reference photo. Our focus isn't strictly on reproducing the reference image perfectly - rather, that reference image is a source of three dimensional information that we can interpret and use to build up our own object on the page. There are some cases where we might choose to focus on specific parts of a reference image - for example, if there are a lot of a specific object, or if it ends up being quite small. For example, the buds on this verbascum flower ended up being quite small. That, in combination with the general thickness of your lines (you were definitely pressing pretty hard with your pen when drawing them), resulted in this part of the construction coming out a little more clumsily, simply because you didn't really have the space to explore those spatial problems. This might be a good opportunity to focus in on a few specific clusters of buds, and devote an entire drawing (and an entire page) to them. Giving yourself lots of space can really help give your brain the room it needs to think through spatial problems, while also helping to make it easier to engage your whole arm while drawing.

And that about covers it! As a whole, you're doing great, and while you have a few things to keep an eye on, I'm pleased with your progress. I'll go ahead and mark this lesson as complete.