Starting with your arrows, I'm definitely seeing a fair bit of confidence and fluidity behind this linework. It's solid and concise, but moves with a sense of motion that starts you out on the right foot. This is important, because I think this is precisely what is actually missing from a lot of the rest of this submission, and is the biggest issue at hand.

The reason I assign the arrows right before the leaves is because there's a direct link between those two exercises - they are fundamentally the same thing, just flat elements moving through 3D space, conveying a sense of movement and fluidity. The difference however is that the arrows are easier to draw with confidence because they're somewhat abstract and representative, whereas the leaves are literal - we tend to stiffen up when we draw something real, and these leaves are the first "real" thing we're drawing in this course. This can make students stiffen up and focus too much on how things simply sit statically in the world.

The key point for the leaves is that flow line we draw at the beginning - it defines how that leaf is actually moving through space that it occupies, and represents the forces of wind that push it through the world. I like to draw it with a little arrowhead of its own sometimes, to remind me that it represents motion, and needs above all else to be drawn with confidence and fluidity, in order for the construction that is built upon it to echo that same sense of motion.

Now, your linework is extremely precise, and at least in the leaves exercise you're demonstrating a very steady hand. That said, I get the impression of two things from your linework, and either one of these things might be true - or more likely, both.

• You may be drawing too slowly

• You may be pressing too hard

Both of these can yield a similar result, because of how the pen itself ends up interacting with the page. When we draw confidently, with a light touch, our strokes end up developing a sort of tapering on either end, where the pen is already in motion as it touches down. You can see this demonstrated here. Drawing slowly or pressing harder eliminates the opportunity for that tapering, making the linework feel stiffer and more lifeless. It's not that you aren't moving your lines in a fluid, lively way, it's just that the lines themselves contradict it.

I noticed that towards the bottom there you did apply some additional complexity to some of your leaves' edges, but I definitely would have liked for you to have dug more deeply into this, and to have experimented with more overall structural complexity as shown here and here.

Moving onto your branches, there are two mistakes you're making. First and foremost, always draw through your ellipses two full times before lifting your pen throughout this entire course, without exception. Also, apply the ghosting method when drawing them (and every other mark) to ensure you execute them with confidence, in case you aren't.

Secondly, and most importantly, you don't appear to be following the instructions for how to draw and layer the line segments correctly. As shown here, each segment is expected to extend fully halfway to the next ellipse, allowing the two segments to overlap for a good bit, making the transition from one to the next smoother and more seamless. You appear to have missed that entirely. Aside from that, you're doing a good job of keeping the width of your branch structure even, which helps contribute to its solidity, but without that overlap and seamless transition, you end up with a lot of sudden shifts in trajectory at every ellipse.

Admittedly your linewokr here is actually pretty nice and confident, going back to how you were drawing your arrows. Moving onto your plant constructions however, we once again get back to things being much more stiff and rigid. Honestly, as I scroll through all of your plant constructions, that is the only issue of any real significance, and towards the end it definitely loosens up especially on pages like this one where the leaves start to move more fluidly through the world.

I have just a couple other minor points to offer:

• When drawing your flower pots and vases, construct them around a central minor axis line to help align them to one another. You may also want to look at the mechanics of drawing cylinders (you can read about that here - the flower pot on the right side of this page has its base drawn with a narrower degree than its top, when it should have been drawn to be wider.

• Again for your flower pots, capture all of the complex elements along its mouth - inset an ellipse inside of the larger one to create the impression of a "rim", and place another ellipse to define the level of the soil so the plant's stem has something to connect to. This obviously is easier said than done, and I expect you've made attempts at this but did struggle with drawing larger ellipses. That will simply require more practice.

• Filled black shapes are reserved only for cast shadows - if you see something black in your reference, don't fill that area in with black to capture its local colour. Treat everything like it's flat white/grey. This only comes up in this page, but it's not an uncommon mistake for students so I figured I'd call it out anyway.

Now, while you definitely need to revisit the branches exercise, I'm overall happy enough with the later section of your work so I will mark this as complete and leave you to do that in your own warmups.