Starting with your arrows, you're drawing them with a good deal of confidence, although you're not considering how foreshortening ought to cause the gaps between the zigzagging sections to get tighter and smaller as we look farther back. You can see this depicted in this step from the instructions.

It looks like in your enthusiasm to post all of your pages of plant drawings, you appear not to have included any of your leaves exercise pages, so I am going to need you to submit those before I am able to mark this lesson as complete.

Moving onto your branches, it does not really appear to me that you've followed the instructions for this exercise all that closely. From what I can see, you attempted to extend each segment for much longer (in some cases using only one line segment to draw the entire edge of a branch), and also that when you did draw an edge with more than one segment, you don't appear to have extended the segment fully halfway to the next ellipse as shown in the instructions. Having your previous segment extend fully halfway to the next ellipse, then starting the next segment at the previous ellipse (as shown in the diagram I just linked) causes them to overlap a fair bit, which helps us achieve a smoother, more seamless transition from one to the next.

Because you didn't follow the instructions for this exercise and attempted to cover a much longer distance with a single segment, you lost a lot of your control over the line, resulting in a lot of sections where the branch either got wider or smaller. This variation in width undermines the solidity of the form, and makes it read more as a complex, flat shape on the page, rather than a solid, 3D form. Keeping the width of the branch consistent helps a great deal with that.

Looking at your actual plant constructions, overall you are indeed doing a pretty good job, and you're applying the principles of constructions fairly well. I'm very pleased to see that you are drawing with a lot of confidence, and while this does result in a bit of looseness here and there, you're still doing a pretty good job of building on top of your previous phases of construction quite directly. I have a few things to point out however:

• I noticed a lot of cases where, as shown here, you added complexity to your leaf's/petals' edges by zigzagging your like back and forth across it. I talk about this specific issue in this section.

• On top of not zigzagging your lines like that, try not to get in the habit of redrawing the petal/leaf in each phase of construction. I explain this a little further in this demonstration. Note how I'm just adding little bits and pieces, not redrawing the whole edge from end to end.

• It's really good that you're so eager to fill your pages, but I do want to warn you against ending up in situations where you draw your objects too small. When we draw too small (as can sometimes happen when we're more focused on just packing our pages full) we can end up limiting our brain's ability to think through spatial problems, and also make it much easier to slip back into drawing from our wrists. Drawing larger helps avoid these kinds of problems. I'm not seeing any of these issues present here in your work, but it's not uncommon for students to run into it as they get into more challenging subject matter. So just keep it in mind.

• Here you drew the veins of your leaves as basic lines. As discussed back in Lesson 2, we capture these kinds of textural details by drawing the shadows those forms would cast on their surroundings - not by drawing the veins themselves. Furthermore, you should never represent a three dimensional form as a simple line, as this will generally make it more obvious that we're looking at a drawing.

• When drawing along with the potato plant demo on this page, you only focused on capturing the areas in between the leaves that were filled with black. This is technically incorrect, and was not copied from the demonstration accurately. Every situation where we draw a filled area of black, these kinds of filled shapes should be reserved only for capturing cast shadows. By the end of the demonstration, I did add in the shadow shapes some of the leaves were casting on the ground, as shown here. These shadows helped give the other filled shapes in between the leaves context - they help the viewer to understand that these too are cast shadows, since the leaves are so densely packed together that the light cannot reach the soil there. Without the other specific cast shadows however, it would just appear as though you are filling the negative space between the leaves, which would be incorrect. That is similarly what happens with what you attempted here and is why that didn't end up looking correct. You misunderstood what we were doing as creating a background. Again, remember - all filled shapes should be reserved for cast shadows only. Cast shadows actually need to fall upon some surface in order to read realistically.

Now, before I mark this lesson as complete, I'm going to need you to submit the one missing page of the leaves exercise, as well as one additional page of branches (since the one you included here was not done correctly). Please be sure to follow the instructions for each exercise exactly as it is written.