Jumping right in with your arrows, you're off to a great start. You've drawn these with a great deal of confidence, which has really helped to achieve a strong sense of motion in how they push through all three dimensions of space. This carries over quite nicely into your leaves, which not only establish how they sit statically in the world, but also how they move through the space they occupy. You've also done a good job of applying the edge detail effectively, doing so with separate strokes rising off and returning to the existing edge, so as to make an extension to the silhouette itself rather than merely adding another loosely related line on the page.

Continuing onto your branches, here you are running into a few issues:

• Most notably, it appears you may not have fully understood the specific approach we are to use for our segments here. As explained in these instructions, each segment starts at an ellipse, continues past the second, and stops halfway to the third. The next one would then start at the second, repeating this pattern. Right now you appear to have your segments start just a little back from where the previous one ended, minimizing the overlap and missing an opportunity to achieve a smoother, more seamless transition from one to the next.

• Be sure to draw through all of your ellipses two full times before lifting your pen, as is required for all the ellipses we freehand throughout this course.

• Keep working on keeping the width of your cylinders consistent throughout their length, and avoiding arbitrary swelling/tapering. I can see that this happened due to simple slip-ups, and these things are normal - just be sure to keep working on keeping the structures as simple as possible, so as to help them feel as solid as they can be.

Moving onto your plant constructions, overall you've done a fairly good job, but there are a few things I'd like to call out:

• For your corpse flower, when adding edge detail to the petals, it seems like you may have tried to tackle a lot more in one step than you necessarily should have. As shown here, we can break up our addition of edge detail into as many steps as we need, as long as each individual step is kept as simple as possible (so as to maintain the solidity that comes from the previous stages). So as shown in that example, we started with the red ellipse, then added some blue sections that rose off that initial ellipse and returned to it, then built off that with green, and finally purple. Of course I didn't capture all of the details, as this was simply to convey the concept of breaking things into separate stages.

• As a side note, that corpse flower photograph was very low resolution, and I wasn't able to find anything that was much higher, leading me to believe that it was all you had to work off as well. In the future, try to stick to reference images that are a fair bit larger - low res images make it very easy to oversimplify and flouder around, simply because there's far less useful information present than you may realize. Your brain fills in the gaps so you can confidently identify what you're looking at, but it's still not nearly enough information really pull from especially if you're not used to parsing such things.

• When drawing flower pots, like here, I'm glad to see that you're working around a central minor axis line and that you're including a number of different ellipses to flesh out the whole structure. That said, I would recommend including another inside the opening to help imply the thickness of the rim there. Also, remember that the farther ellipse is going to be wider - so in this case, the base should definitely have a wider degree.

• When following along with any demonstrations, do your best to apply each step in its entirety. In this potato plant drawing, you only drew some of the cast shadows - specifically those introduced earlier on, which involved filling in the space between the leaves (where the leaves were dense enough to cover up the dirt beneath them in their entirety). Without including the shadows cast by the other leaves, however, this makes these shadows appear more like an arbitrary, stylistic choice, to just fill the negative space in with black. In general, make sure that when you work with cast shadows, that you're keeping them consistent, and having all (or at least most) of your forms cast them.

• If you end up with a structure that gets cut off the edge of the page, as the flower pot does here, be sure to cap it off rather than leave it open-ended. This will reinforce the illusion that we're looking at something solid and 3D, rather than leaving it to be interpreted as a flat shape.

• Lastly, I think that when you get to the detail phase, you appear to be aiming for a more general goal of "decorating" your drawings - or rather, doing what you can to make them more visually pleasing. Unfortunately, this is not a particularly useful, as there's no clear point at which one has added "enough" detail. 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. Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

That about covers it. So, you do have some things to keep in mind, but all in all your work is coming along well. I'll go ahead and mark this lesson as complete.