Starting with your arrows, these are off to a good start in that you're drawing them with a good deal of confidence, which helps you to capture how they move fluidly through the world. One thing to keep in mind however is that as we look farther back in space, foreshortening impacts both the positive space (the width of the ribbon itself, which you've got shrinking as it moves further away) and the negative space (the gaps between the zigzagging sections). As shown here, those gaps should be shrinking and compressing as well. Additionally, I do feel that even though you did more or less fill the page, 3 arrows is a pretty light load. It wouldn't hurt to add a few more when doing this exercise in the future, even if they have to overlap the others.

Continuing onto your leaves, you've got the first two steps down really well - you're pushing that same confident execution through from your arrows, and in doing so you're capturing not only how the leaves sit statically in space, but also how they move through the space they occupy. That said, you seem to have arbitrarily stopped at step 2, and did not attempt to add any edge detail to your leaves for step 3 which you'll see highlighted here. The last step (4) is optional, but step 3 is very much a core part of this exercise.

Moving onto the branches, there are a few things for you to keep in mind:

• You appear to be skipping part of step 1 - that is, each branch should be constructed around a central minor axis line, to be used to help align the ellipses to one another as they move through space.

• When drawing the ellipses themselves, right now you're restricting them all to roughly the same degree/width. As explained here back in Lesson 1's ellipses video, they should be getting wider as we slide along the cylindrical structure, away from the viewer. As we slide towards the viewer, they would get narrower. Maintaining the same degree for those ellipses will make the branches appear more stiff and rigid.

• Remember to draw through each of the ellipses you freehand throughout this course two full times before lifting your pen. You're doing this in some cases, but there are others where you're only doing one round, and some where you're doing maybe one and a half rounds.

Looking at your plant constructions, as a whole your work is coming along quite well here. While admittedly you weren't doing a great job of following the instructions with the other exercises, here you followed the demonstrations fairly well, and applied the concepts effectively to your constructions. There are a few minor things I want to call out, but as a whole you've done quite well here.

• I'm noticing a tendency to increase the thickness of your linework as you progress into later phases of construction. Try to avoid this, and keep them to roughly the same level of thickness throughout. You can tackle line weight later on, towards the end, but even then it's best to focus the use of that line weight in localized, specific areas where overlaps occur as shown here in these two overlapping leaves.

• Remember that every phase of construction should maintain a tight, specific relationship with the phase before it. If you look at the leaves on this plant, there's a pretty arbitrary gap between the end of the flow lines and the end of the leaf itself. Instead, wherever it is the flow line ends, is where the petal should also end. Each phase of construction answers questions about the object - in this case, the flow line tells us both how the leaf moves through space, and how long it's going to be. Once answered, you should not be changing the answer, as this adds contradictions to our constructions and risks undermining the viewer's suspension of disbelief.

• For these leaves, I noticed that you ended up completely replacing the earlier silhouette of the leaf, and effectively drew a completely new, more complex edge going all the way around the leaf. Instead, each "spike" should be its own independent structure, coming off and returning to the earlier edge. This way the complexity we add to the construction functions as something built directly on top of the existing structure, using it and carrying forward its own solidity. If we replace everything wholesale, then we won't be able to carry forward the solidity that comes from things starting in a simpler state. You can read more about this in these notes.

• When putting down filled areas of solid black, always ensure that each such filled shape is itself a shadow being cast by some other specific form present in your object. What that means is that if we look at any such black shape, we should be able to identify the specific form that casts it. Here's what I mean - we can tell that there are shadows of the lilypad casting on the surface beneath it, and shadows cast from the veins onto the surfaces around them. But along the top edge of the lilypad, it's unclear what is causing that shadow to exist. As a side note, along the bottom I tried to explain that when implying the presence of veins, it's more effective to focus our shadows where the branching occurs, or where the veins meet one another (you can see an example of this in the last step of the leaves instructions. It also helps to make a point of first outlining our shadow shapes, then filling them in, instead of trying to draw each shadow in one go.

Now, I'm going to ask for just one page of revisions, to address the issues with the earlier exercises. You'll find it assigned below.