Starting with your arrows, you've done a pretty good job both in drawing these with a sense of confidence and fluidity, as well as capturing the sense of depth in the scene through your application of foreshortening. Admittedly I'd have probably added a couple more arrows, as 4 is a little low, but I'm pleased with your results all the same. That fluidity carries over nicely into your leaves, which do a great job of capturing how they not only sit statically in 3D space, but also how they move through the space they occupy. That said, again - this exercise doesn't really appear entirely finished to me, on two fronts:

• You've only drawn five leaves, which is pretty low considering that this is a new exercise. Admittedly I am very pleased with the size of the leaves themselves and how drawing at that size really engaged excellent use of your whole arm when drawing, so I'm a bit on the fence.

• More importantly though, you didn't really make any attempt to add more complex edge detail on these leaves, so you never gave yourself the opportunity to explore how you might build greater complexity onto these simple structures. Fortunately scrolling ahead, I can see a few instances (your last three pages) where you did build up greater complexity, and while your approach isn't perfect, it is well done in most cases. I'll address the issues with that a little later, but all in all you should be pushing these exercises further, instead of striving to do the bare minimum.

Moving onto your branches, your work here is actually very well done. You're doing an excellent job of extending each segment fully halfway towards the next ellipse, and leveraging that overlap to help transition from one segment to the next seamlessly, far better than I'm used to seeing at this stage. I'm also getting more pleased with the quantity you've explored this exercise here, and I think as we push forwards into your plant constructions, your work ethic really starts to kick into gear.

To put it simply, your plant constructions are all very well done. You're patient and careful with each mark you draw, and you're not at all hesitant to draw through each and every form, establishing how they all exist in 3D space so as to better understand how they relate to one another within it. Even when drawing forms that many students overlook, or approach too quickly/haphazardly like the vases/flower pots, you make sure to draw out as many ellipses as are required to properly define the thickness of the rims at their openings, and the level of the soil from which the plant itself emerges.

Admittedly the box-pot in this one isn't your best work - there's something to be said about thinking more about how each line exists within a set of lines that are all to converge towards the same far-off vanishing points, and keeping that in mind while planning/preparing would have helped you pull that off a little better - but all the same, you drew through the form in its entirety, and did so wit a fair bit of care.

So in the interest of not wasting time, I'll jump ahead to the only real issue I noticed, and it's quite minor. When building up the more complex edge detail for the plant on the left of this page, you mostly tried to stick to the simple edge underneath, getting your more complex edges to rise off it and return to it. There are two main issues that I'm noticing however:

• There are a few places where you zigzagged across that simple edge. In doing so, you break the relationship with that simpler leaf shape at that point, because it is no longer a part of the new edge. It effectively replaces that simpler edge, rather than modifying it in a few places. You also had a tendency to separate from that simple edge for quite a stretch, basically building more complex waves without the proper scaffolding to support them. Instead, building up an intermediate step like this, to provide your more complex edges with a more direct support would be preferable. Alternatively, you might simply just accept the simple edge of the initial leaf shape, rather than attempting to extend it further. Constructional drawing is after all about making decisions and then sticking to them rather than attempting to change what has already been established, so as to avoid contradictions that could undermine the viewer's suspension of disbelief. Sometimes that means accepting that a mark was not drawn how you may have wished it was, and so you have to deviate from your reference image to instead stick to the construction as it is turning out.

• The other issue is related - remember that in lesson 1, we talk about the rules of markmaking. The third tells us not to zigzag our marks back and forth - to always break them into individual sections wherever possible. This helps avoid the first issue I pointed out.

Aside from that rather limited issue, your work here is very well done, and I'm pleased to see that I was wrong about you doing the "bare minimum". You may not have pushed the first two exercises as far as you could, but you certainly made up for it with the rest. I'll go ahead and mark this lesson as complete.