Starting with your arrows, you're off to a pretty good start - these have been drawn with a fair bit of confidence overall (there are some wobbles to your lines but overall there's still a strong sense of fluidity in how they move through all three dimensions of space). That sense of fluidity carries over reasonably well into your leaves, which helps to capture not only how they sit statically in space, but also how they move through the space they occupy - although this is definitely something that can be pushed yet further by focusing on how that flow line represents an actual force. One thing I find helps with this is to add a little arrowhead at its tip - this helps create the connection in my brain between the mark and what it's meant to represent.

When it comes to building up edge detail, there are a fair number of examples here of it being employed well, although I do have one suggestion when it comes to the more complex leaf structures. Remember that every step of construction provides the answer to a question. For example, with the initial leaf shape of this one, it's meant to tell us how far out each smaller "arm" of the structure will extend - and thus, once established, the flow line of each subsequent arm should extend all the way to the perimeter of the larger leaf shape. Always adhere to the structure laid down by previous phases of construction, and be sure not to skip over them as you did here.

Before we continue, there's one extremely important point I want to bring to your attention. There are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

While it's somewhat less of a concern in your plant constructions (it varies from page to page, with cases like the drawings on the right and bottom of this page feeling a little stiff), your leaves are probably where the smaller space results in much more hesitant linework. I imagine drawing bigger would also help emphasize the fluidity of those leaves further, as discussed above.

Continuing onto your branches, I do have a few concerns here:

• First and foremost, you aren't being particularly consistent in how you're handling the overlap between the edge segments. As explained here in the instructions, each edge segment starts at one ellipse, continues past the second and stops halfway to the third. Then the next one starts at the second ellipse and repeats the pattern from there, resulting in an overlap between them of about half the distance between ellipses. This helps to achieve a smoother, more seamless transitioni from segment to segment.

• There are quite a few cases where your branches' edges get rather wobbly, and where we run into inconsistency in the branch's width (where it gets narrower or wider arbitrarily). Try to avoid this as much as possible, through the use of the ghosting method, and full use of your arm from the shoulder. Maintaining a consistent width helps to provide a more solid, three dimensional structure.

• Lastly, many of these appear to maintain a consistent degree for the ellipses along the length of any given branch. As explained in the Lesson 1 ellipses video, the degree should actually shift wider as we move farther away from the viewer.

Moving onto your plant constructions, by and large you've done a pretty good job here, though I do have a few issues to call out and suggestions to offer:

• Firstly, I did notice that when you were adding edge detail to your leaves, you often had a tendency to zigzag that edge detail - for example, the larger plant on the left of this page. You can read more about why zigzagging edge detail in this fashion should be avoided in these notes from the lesson.

• In cases like this plant, where you have a lot of repeated, similar forms - we run into this with clusters of flowers as well in some cases - you don't actually have to draw the entirety of the object in your reference image. Instead, you can choose to focus on a specific area, with a more limited number of those repeated elements. This allows us more room to explore those structures, resulting in a more beneficial, useful exercise.

• When constructing flower pots (or really any cylindrical structure), be sure to build them up around a central minor axis line, to help you keep your ellipses aligned to one another. You certainly did so here, although you should definitely have included more ellipses to flesh out that structure - like an additional one inset within the opening to establish the thickness of the rim, and another to establish the level of the soil. Also, again remember that the farther end is going to have a wider degree. Conversely, you did use more ellipses here (although the rim is still paper-thin here), but didn't use a minor axis line.

Overall, you're doing fine. There are some issues, but I think they're simple enough that the explanations pointing them out should have been sufficient. I'll leave you to review the material, but you may consider this lesson complete.