Starting with your arrows, you're drawing these with a great deal of confidence, which helps to push the sense of fluidity with which they move through space. One thing you can continue to play with here however is to exaggerate the shift in scale from one end of the arrow to the other, to really push the sense of depth in the scene as the arrow comes towards the viewer.

Now, the confidence in your arrows carries over very nicely into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy. That said, there is one critical issue in how you're adding your edge detail that was addressed in the lesson notes, but that you may have missed. As explained here you must not zigzag your edge detail back and forth across the previous phase of construction's edge. Doing so results in a weaker relationship between the phases of construction, and gives the impression that we're effectively redrawing the entirety of the leaf at each stage, rather than establishing a simple structure and building upon it in 3D space, one mark at a time.

In addition to this - and as an extension of it - you do need to give yourself a little more time when adding each of these edge detail strokes to ensure that they rise off the existing edge and return to it - avoid cases where you've got a little overshoot beyond the edge (as we can see here) or where you flick the end of your stroke a little as seen here. At the end of the day, we are not creating a loosely related collection of lines on a flat page - we are constructing and modifying things that exist in 3D space, to which our page is merely a window through which we can see these structures.

Continuing onto your branches, your work here is by and large coming along quite well. One suggestion I do have that should help you continue to get the most out of this exercise is to try to have your next segment overlap the last one more directly, using it like a runway as shown here. This will be a bit more difficult, but you'll learn more from addressing any mistakes from the last stroke and having to deal with them, than from drawing the next one where the previous stroke ought to have been.

Moving onto your plant constructions, overall you're doing quite well. I have just a couple points to call out:

• When adding detail to this one, you're very clearly putting marks down haphazardly, relying on the idea that if you put down enough marks, then their sheer quantity will have a positive impact. Unfortunately, that's not how this works. As explained here you simply cannot rely on randomness. You need to think about the specific textural forms that are present, and actually draw the shadows they would cast on their surroundings. Review these notes from Lesson 2, which go over this a bit further.

• When constructing your cylindrical flower pots, be sure to construct them around a central minor axis line to help you to keep those ellipses aligned to one another. Don't try to trace back over the ellipses themselves - focus on drawing them confidently from the beginning, then let them stand for themselves. Also, be sure to include an additional ellipse inset within the opening to establish the thickness of the rim, rather than leaving that edge paper-thin.

• When employing the branches technique, be sure to extend each edge segment fully halfway to the next ellipse. Here you're falling short.

• And lastly, remember that texture is not another word for decoration. If we approach the detail phase of our drawings with a focus on decoration - that is, doing what we can to make our drawing appear more visually pleasing - then we end up without a clear goal to work towards, because there's no specific point at which one has added enough decoration.

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.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

Before I mark this lesson as complete, I will want you to address the points about the leaves/edge detail, so you'll find an additional page of that exercise assigned below.