Starting with your arrows, these are definitely flowing very nicely through space. They're drawn with a strong sense of confidence and fluidity, though I do think that many of them still keep the gaps between the zigzagging sections more consistent than they should be, I feel like this is something you're making progress on and are aware of.

You've done a good job in taking the fluidity of your arrows and applying them to your leaves as well, capturing not only how they exist in 3D space, but also how they move through it from moment to moment. On top of this, you've built the various kinds of edge complexity onto the simple leaf structure quite well, with a clear respect for the constructional process. You're not redrawing the edge and ignoring the previous one, but rather building directly on top of it, only making changes to that original edge where required so as to avoid re-solving spatial problems that have already been addressed.

For your work on the branches exercise, you are mostly doing a pretty good job, but there are a couple things to keep working on:

• Be sure to continue striving to keep the width of your branches consistent throughout their lengths. This is the best way to keep the branches feeling solid, as it limits their complexity.

• When you get those segments shooting off on a slightly incorrect trajectory, using it as a runway for your next segment (rather than drawing the next one where the previous ought to have been) can help you improve more quickly, because it forces you to address the mistakes directly. It does make the individual branches harder, but will ultimately show more efficient results.

Moving onto your plant constructions, all in all you've done a pretty great job with these. You're demonstrating a solid grasp of construction, combining simple forms to achieve more complex results while maintaining the illusion of solidity throughout. There are a couple minor things I want to touch upon however, that should help you stay on track as you move forwards.

• Construction is all about solving problems one piece at a time, and avoiding re-solving them after the fact. If you look at some cases like the daisy demo drawing, as well as the hibiscus drawing, you'll see where you drew the ellipse to define the bounds to which the petals would reach, but then ended up largely ignoring it. While you're not required to start with an ellipse in this fashion, if you do use that technique, ensure that you draw your flow lines right to the perimeter of the ellipse, so each petal is drawn ending at that space. Don't treat the results of previous steps as suggestions - adhere to them like solid scaffolding, meant to hold up your construction as a whole.

• When constructing flower pots, they may not feel particularly important, but really the subject batter of a given lesson is just an excuse to look at construction through a different lens. As such, flower pots should be given as much of our time as anything else. Many of them are cylindrical, so in such cases, constructing them around a central minor axis line is a good idea, as it helps us to keep the elliptical ends aligned to one another. Additionally, don't leave them as a simple cylinder - consider the fact that the opening of the pot or vase will generally have a rim, with a thickness to it - so placing an internal ellipse within the top one will provide a sense of thickness that will make the pot feel more real. Beyond that, establishing the "soil" level with another ellipse can take it one step further, and give the plant itself something solid to intersect with.

• For your potato plant, just a minor point - don't confuse line weight with cast shadows. It's a pretty common mistake to make, though the difference may seem entirely obvious. It's because they fill similar roles in our drawings, and help to distinguish one part from another. Line weight is subtle - it is never something heavy, and always relies on relative thicknesses, not absolute values. Making one line almost imperceptibly thicker than another is often enough, because it's the kind of difference our subconscious picks up on. Line weight speaks to the subconscious, whispering to it, rather than speaking (or shouting) at the conscious mind. Cast shadows have the freedom to be much larger and bolder, but also differ from line weight in that they do not cling to the silhouette of the form casting them. Instead, they fall upon another surface, no matter how far away that surface might be. When we make our line weights too thick, it often looks like we're confusing these two different tools - like we're placing cast shadows on empty space. Always keep in mind which tool you're using, and what limitations go with it.

Aside from these points, your work is looking great. I'm especially fond of this one, where you've done a great job of leveraging all of the major tools you've been given, including line weight and cast shadow with extreme effectiveness.

Keep up the good work. I'll go ahead and mark this lesson as complete.