Starting with your arrows, you're doing a great job here. You're drawing them with a great deal of confidence, capturing how they move through the space in a fluid manner. That carries over quite nicely to how you've drawn your leaves - you're not only capturing how they sit statically in space, but also how they move through the space they occupy.

You're also doing an excellent job in the build up of your individual bits of edge detai, as well as your more complex leaf structures - in each case you're taking great care to respect the principles of construction, maintaining tight and specific relationships between each constructional phase instead of working in a rougher or more approximate manner.

One minor point - when trying to capture the veiny texture on the surface of a leaf, as you did here, remember that as with all textures you want to focus on capturing cast shadow shapes, rather than individual lines. The best way to do this is to actually use two steps - first outline your intended shape, then fill it in. This will help you avoid the urge to just paint on individual strokes.

Continuing onto your branches, there are a couple issues here:

• Firstly, you're not drawing through your ellipses. Throughout the entirety of this course, every ellipse that you freehand should be drawn through two full times before lifting your pen, as discussed back in Lesson 1.

• In regards to the overlap between the segments, you aren't quite following the instructions. As shown here, each segment starts at one ellipse, goes past the second, and stops halfway to the third. The next segment follows the same pattern, now starting at the second ellipse, going past the third, and stopping halfway to the fourth. This results in a healthy overlap consisting of about half the distance between ellipses, providing us with a smoother, more seamless transition from one to the next. You often end up with a very minimal overlap, which can result in a more sudden jump from one to the next.

Continuing onto your plant constructions, as a whole you're doing a really good job. There are a few issues I'll call out, but as a whole you're making really solid use of the constructional approach, building everything up from simple structures, step by step.

Here are a few things to keep in mind:

• I can see that you're fitting a lot of drawings into each page. This is a good thing, but first and foremost our priorities should always be to give each drawing as much room as it requires on the page. When we go in with the intent to fit, say, 4 drawings in a page and mentally divide the page up accordingly, we can limit the space our brain has to think through those spatial problems, and can also discourage ourselves from executing our marks using our whole arm. While I'm not really seeing signs of this in your work, it is clear that you're intentionally drawing smaller so you can fit more in. Instead, focus first on ensuring that the drawing is given as much room as you need. Then once you're done that drawing, you can assess whether there's enough room for another. If there is, go ahead and add it. If there isn't, it's completely okay to just end up with one drawing on a given page. This will also help you avoid situations with lots of empty space on a page that could have helped you work through those constructional problems.

• When drawing the mango on this page, your use of contour lines there didn't really work out as intended. There are a couple reasons for this - firstly, the contour lines themselves don't correspond with the orientation of those cross-sectional slices of the mango. With degrees that wide, you're really suggesting that the slices are slanting much more towards the viewer. You can learn more about how the degree of an ellipse corresponds to the orientation of the circle it represents in 3D space, in the lesson 1 ellipses video. The notes here also go over how to depict a more solid, rounded mass like a fruit as well - though I can see you applying those principles better in your cucumber plant.

• There are some cases where you're diving into more leaf complexity, in terms of wavy edges and such, than you should be in your first step. For example, this eggplant plant has leaves with really wavy silhouettes. You should still be starting them off with a very simple silhouette, then building those individual wavy bumps one at a time on top of that structure as you did in the leaf construction exercise.

• When starting out a flower with an ellipse to define how far out the petals are going to reach, like in this sunflower, it's important to understand that the ellipse is not just a suggestion or an exploration. It is a specific answer to the question of "how far out will these petals reach?" - once given, it needs to be followed. So make sure your petals' flow lines stop right at its perimeter, rather than extending out to some random distance - and furthermore, make sure your petals themselves extend to the end of the flow line rather than farther out. You're following the ellipse better with the flower on the left side of that page, though there are some petals that leave a gap between the end of the flow line and their own tip. There are also flowers on other pages where you're quite loose in the use of that ellipse. Remember - every step of construction gives an answer, so we should not be re-answering those questions later on. Doing so can introduce contradictions into our constructions, which the viewer will pick up on.

• Not really worth calling out, but I figured I might as well - the berries on the bottom left plant on this page were drawn quite sloppily and haphazardly - make sure you're drawing through the ellipses, employing the ghosting method, and executing them using your whole arm.

That about covers it! There were a lot of little points, but as a whole you're still doing quite well. I'll go ahead and mark this lesson as complete.