Jumping right in with your arrows, these are off to a great start. You're drawing them with a lot of confidence, which helps to emphasize the fluidity with which they push through all three dimensions of space. I would however exaggerate how the gaps between the zigzagging sections compress as they move farther away from us - they are shrinking, but making this more prominent will help sell the depth of the scene a little more.

Getting back to that sense of fluidity, it carries over quite nicely into your leaves, capturing not only how they sit statically in 3D space, but also how they move through the space they occupy. I do however have some concerns about elements of how you've tackled this exercise:

• In the bottom right you've shown a solid understanding of how to approach a more complex leaf structure, breaking it down into separate leaf "arms" and then merging them together. Along the top of the page however, you have two where you did draw separate "flow" lines for each individual arm, but skipped past actually constructing each arm's own leaf silhouette. I explain this issue further in these notes.

• This is actually more of an extension to the previous point, pertaining to the same leaves - in general, be wary of any situation where you end up functionally redrawing the entirety of the leaf in one go. Construction is about building things up one step at a time, with that edge detail/variation being drawn with individual marks, one at a time, onto the existing edge but not replacing it, as explained here.

Continuing onto your branches, it seems here you're somewhat aware of how to handle the edge segments, but your approach is definitely inconsistent and that is something that will require some attention. As explained here, each edge must extend from one ellipse, past the second, and stop fully halfway to the third. The following edge then starts at the second ellipse, repeating the pattern. This results in a healthy overlap between them, allowing for a smoother, more seamless transition.

Aside from that - though it is an important point - you're doing well. You're showing an awareness of how those ellipses' degrees ought to shift as we slide along the length of the forms, and you're maintaining relatively simple, consistent tube shapes without unnecessary complexity to undermine their solidity.

Moving onto your plant constructions, overall you're doing quite well, but I do have a handful of suggestions to help keep you chuggin' down the right track and getting as much as you can from these exercises:

• Firstly, as a mistake this is a minor one, but in the context of the course it bears considerable weight. If we look at your daisy demo drawing, your petals' tips sit an arbitrary distance beyond the end of their corresponding flow lines. Construction is all about tight relationships between each step, which allows for the solidity from the simpler stages to carry forward as more complexity is built up. Treat each constructional step as an assertion, an answer to a question, or a solution to a problem. Once given, we need to adhere to it, rather than rehashing/reeanswering those same questions and introducing contradictions into our constructions.

• I did notice in some places you had a tendency to get pretty heavy with your line weight - either increasing the thickness of your lines as you stepped through the different phases of construction, or purposely tracing back over large chunks of your linework to strengthen silhouettes and such. Line weight is a very useful tool, but I find that a lighter touch is generally more successful - try to keep the linework from step to step more consistent, and leave line weight for its own pass towards the end. There, try to use it specifically to help clarify how different forms overlap one another, and limit it to the localized areas where those overlaps occur, as shown here with these two overlapping leaves. Not only will this help you create a more concise drawing, it'll also allow you to more reliably rely on the kind of confident markmaking we use from the ghosting method, avoiding the risk of having our lines wobble as we trace back over longer sections (though this wasn't a huge concern in your work, it is something that can come up when our comfort level with a topic dips).

• When it comes to hitting that detail phase, you have largely done a pretty good job, but I do want to call attention to one thing - your focus here seems to be more towards the side of "decoration", or more generally doing what you can to make your drawings feel more visually pleasing. I see plenty of students with that issue, and you don't push it nearly as far, but I did want to explain the distinction between aiming for decoration, and what it is we're really paying attention to here. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice. So, keep that in mind when deciding how to go about approaching that detail phase in the future. Where decoration tends to lean towards "more is better", what I've described here really goes the opposite, trying to convey as much as possible with as little ink as we can get away with.

So! All in all, solid work, though do be sure to review those notes for the leaves/branches exercises. I'll go ahead and mark this lesson as complete.