Jumping right in with your arrows, you're off to a great start, capturing these with a strong sense of confidence, which really helps to establish how each one moves fluidly through the world. This carries over into your leaves quite nicely, where you're not only capturing how each one sits statically in 3D space, but also how they move through the space they occupy.

You're also handling both the addition of edge detail, and leaves that are more structurally complex very well. You're showing an awareness of how the constructional approach is all about breaking the process into individual steps, each one building upon the structure left by the last, rather than attempting to outright replace what's there and redraw each leaf at every phase, which is a common misunderstanding I see from students.

I know you were asking about progress from leaf to leaf - aside from the fact that I'm not seeing any notable mistakes from start to finish (even in your approach to texture, which is doing a good job of focusing on cast shadows and individual textural forms), in general, comparing individual attempts within roughly the same time period or page isn't really that useful. It implies that the expectation is that students will improve granularly, with each individual drawing. While that can be true, it's not really what we're concerned with here. Rather, you're building up a body of work that allows me to see what you do grasp, and what you don't yet understand. So if there are mistakes, we'll call them out - but there's really no need (and no use) from asking for such a specific level of critique.

Of course, I can answer specific questions - so to the one about edge detail vs. texture, we can go back to thinking about what texture itself is. It's a series of forms that run along the surface of a larger object, which we capture using implicit means (cast shadows mostly) rather than explicit techniques (which focuses primarily on line and outline). The edge detail we add to our leaves is not texture, by this definition. Edge detail itself is structural, and it's built up through constructional techniques (this very exercise being the first example of such an approach).

Continuing onto your branches, you're doing a similarly good job here for the most part. Across the majority of these, I'm seeing you extending your edge segments fully halfway to the next ellipse. There are a few spots where you fall a little short, only extending them a little past the previous ellipse, which limits how much overlap we achieve, so do keep an eye on that. Remember that we want to achieve a nice, healthy overlap in order to make the transitions from one segment to the next smoother and more seamless as shown here. As a whole though, you've done a solid job with this exercise.

Moving onto your plant constructions, as a whole you have done similarly well (that tends to happen when people read the instructions carefully, as you most certainly have done here), but there are a couple of little things that I can call out. I really should stress however that you're doing a great job, and you're building most of your constructions up in a step by step manner, showing a well developed grasp of how the principles of construction function. You're also showing a good grasp of how these forms exist in space together, and how they can be combined to create more complex results, while maintaining the solidity from their simpler beginnings.

• For the potato plant drawing, keep in mind that when I filled in the spaces with black in this step, it wasn't an arbitrary or artistic decision. I was laying down the beginnings of cast shadows in the area where the foliage was densest, and would have effectively covered the entirety of the dirt that could be seen through the space between those leaves. This was then followed up by matching similar (albeit less concentrated) cast shadows with many of the other leaves, as shown here. While you did have leaves casting shadows upon one another, and pebbles casting shadows upon the dirt, your drawing was definitely missing the shadows the leaves would have cast upon the soil, enough so that it makes the choice of filling that central area with black seem out of place. Always think to the purpose of every mark you put down, and try to keep things fairly consistent within the same drawing. If one thing casts a shadow, so too should another.

• When tackling the edge detail on this flower's petals, you did end up skipping some steps, jumping from the simple basic structure of each petal to a much more varied, wavy bit of detail. As I've shown here, you've missed an intermediary step that would have allowed you to build up more structural support for that final level of edge complexity. Don't be afraid to add steps in between.

• Also, when adding edge detail to this one, I did notice that it was at times... I wouldn't say sloppy, but I think taking a little more time with the execution of each of these little strokes would have helped you avoid little gaps, overshoots, and inconsistencies that currently make the petals feel a little less like a cohesive, continuous silhouette of a single concrete form. When our lines don't flow into one another, with seamless joints and fully closed shapes, we undermine the illusion that what we've created is a real, solid, three dimensional structure, and instead remind the viewer that they're looking at a collection of lines on a page.

Anyway, all in all, great work. I'll go ahead and mark this lesson as complete.