Starting with your arrows, you're definitely doing a good job of keeping them flowing fluidly through space, though you do need to exaggerate the compression of the gaps between the zigzagging sections, making them get tighter more quickly to better convey the depth of the scene.

Moving onto the leaves, you've applied the same sense of flow and fluidity to capture how your leaves not only sit statically in space, but also how they move through it. You've largely done a good job of adhering to the underlying structure when moving from the basic leaf form to more complex edge detail, but this one stood out as being a lot more loose. Notice how compared to the others, the lines that make up that leaf have all been redrawn. Whereas the other ones build directly upon the construction that had already been put down on the page, here you're treating that previous phase of construction more as a loose suggestion. You need to stick to that underlying construction directly, and wherever it's not necessary, don't redraw a section of line if it's already present in your drawing.

You can see examples of how to tackle more complex leaf structures here (this one specifically points out a mistake you made, where you skipped a major constructional step, and here.

One other thing about the leaves - you've drawn the veins along the surface of the leaves as individual lines. Remember that as discussed back in lesson 2, when capturing texture you should only be focusing on the shadows cast by the forms running along the surface of the given object. A vein is a physical, 3D form, not an actual line, and so you need to think more about what the things you see in your reference actually represent.

Moving onto your branches, you've done a good job of laying out your ellipses and keeping the width of your branches consistent. I am however seeing an issue with how you're dealing with the overlapping of your line segments. In the instructions, you're told to draw an edge from the first ellipse, past the second, halfway to the third - which you're doing correctly. Then you should be drawing the next segment from the second ellipse (overlapping that last section of the previous segment), past the third ellipse, and halfway to the fourth. This is what you're doing wrong - instead, you're drawing the segment from where the previous one ends.

The approach should look like this. It results in a nice overlap between the segments that allows them to flow more seamlessly together, making the edge as a whole look more like it's made up of a single stroke instead of several smaller ones.

Moving onto your plant constructions, a lot of them have come out quite well, though there are a number of issues I'd still like to draw attention to. To start, this drawing, looks as it was drawn quite small (based on how much thicker the lines are here than the rest of your drawings). I could be wrong about that - without being able to see the edges of the page it's hard to tell. Regardless, this is an opportunity to stress the importance of taking full advantage of all the space available to you on the page. We benefit a fair bit from being given more room to think through spatial problems, and it also helps us to engage our whole arm. So just in case this one was drawn smaller, be sure not to let your drawings get cramped in the future.

I'm quite pleased with how the main petals were constructed in this drawing, though it appears that you neglected to draw the petals on the side closer to the viewer. Regardless, the ones you did draw apply the constructional process well - you're adhering closely to the scaffolding laid out in previous constructional steps, and don't seek to redraw the entirety of forms that have already been established.

Moving onto this cactus, there are two issues I want to address:

• Firstly, the two "bunny ear" sections were laid in with larger ball forms initially, but you then went on to cut back into the silhouette of those forms to make them narrower and more specific. The problem here is that the silhouette of a form is a two dimensional shape - and modifying that silhouette is an action performed in two dimensions. As such, it reminds the viewer that what they're looking at is in fact a flat 2D drawing, not a 3D object. This is a common mistake - basically every alteration we make to our construction must occur in 3D space - in this case, if you wanted to cut into the form, you'd have to draw along its 3D surface, dividing that form into two sections as shown here. This isn't something we generally do very often in constructional drawing - usually we'll start smaller and build up forms by layering them onto one another.

• The textural nodules you placed along the surface of the cactus - especially along the top two sections - don't really correspond to what's present in your reference image. It's really important that you focus on observing your reference carefully, and drawing what you actually see as being present - not just making things up. Also, again, when working on texture you definitely want to focus more on drawing the shadows these textural forms cast, not outlining the forms themselves. I know I used outlines in the demo video (the demo video is quite old and does need to be replaced) - the newer approach to teaching texture was updated far more recently, so make sure you go back and read through it again in Lesson 2.

This drawing is one that definitely feels a little small and cramped again - definitely be sure to take full pictures of your whole page in the future so I can get a good sense of the scale of your drawings. Right now I can only really base that off the thickness of the lines, and whether the linework appears fluid or more stiff (since drawing smaller tends to make people draw more rigidly).

One thing that stands out, aside from the general rigidity of the linework here, is the big splotch of solid black at the base of the plant. In all the drawings you do across your course, I want you to reserve your filled black shapes for cast shadows only. Here it looks like you may have been thinking in those terms initially, but since the shape doesn't actually seem to bear any real relation to the forms that would be casting shadows upon the ground, you may not have been entirely aware of what you were trying to do with it. The potato plant demo definitely shows the use of these cast shadows a lot better, so be sure to take a look at it.

I think your last two drawings were largely done pretty well. The constructions are relatively well done, the leaves apply construction nicely, and while your detail/texture is still somewhat clumsy (I think you need to keep working on focusing on observation, working from exactly what you see and the cast shadows of the forms you identify, rather than working more from your memory), the result still comes out quite solidly. I'm especially pleased with the fact that you're trying to build up more complex forms for your flower pots - you're not just sticking to a simple cylinder, you are in fact trying to create the rim around the top, and may even be trying to convey the thickness of that opening's "lip", specifically in the first of the two. The last page's flower pot does still come out more paper-thin, so make sure you try putting an ellipse inset within that opening to create the impression that the flower pot's rim actually has thickness to it, but you're still moving in the right direction.

Just one last thing - again, reserve your filled black shapes for cast shadows. The use of it to fill in that opposite side of the flower pot on the last page was incorrect.

All in all I think you've got things to improve upon, but you're moving in the right direction. As such, I'll go ahead and mark this lesson as complete.