Jumping right in with your arrows, these are off to a great start. You're drawing them with a great deal of confidence, which helps to push the sense of fluidity with which they move through the space. Most of these arrows are admittedly pretty tight in terms of how they zigzag (rather than a more gradual, smoother back-and-forth), with this one being the exception. In that one, I did notice that the spacing between those zigzagging sections was remaining fairly consistent, though it should be compressing more and more as we look farther back in space, as shown here.

Continuing on, your leaves are doing a pretty decent job of carrying a similar sense of fluidity forward, although I do think this can be exaggerated further. Given that this is the first time we're getting into drawing real objects, it's easy to get very focused on how the reference image itself appears in a literal sense - and while that sounds like a good thing (and for the most part it is), it does neglect certain aspects of what we're looking at. A leaf, for example, is a flat structure that has no choice but to bend and flow to the whims of the wind and air that carries it, and so it tends to flow and bend in a way that really represents the forces being applied to it. We know this - when we look at a still photo of a leaf, we understand how they move organically, and we can pick up on the subtle elements that suggest this. When we draw from the photo, however, we're more likely (especially earlier on) to ignore those subtleties, since they're harder to pick up on. The result tends to thus come out a bit more stiffly.

So, after that lengthy preamble, I have two suggestions:

• Firstly, try and put a little arrow head on the tip of your flow lines - this helps create a connection between the confidence of your arrow exercise, and fluidity of this first step.

• Secondly, remember that construction itself is all about taking a complex problem and breaking it down into smaller ones that can be solved one at a time. The flow line's purpose is to establish not only how the leaf sits in static space, but also how it moves through the space it occupies. So, draw it with as much confidence as you can muster, and really try and push the sense of this thing moving around. Then, when you move onto the second step, mirror the same sense of fluidity to create a flat, flowing structure, upon which any further edge detail can be added.

To that point, you've handled the complex edge detail, as well as the more complex leaf structures, quite well. As a whole, you are handling these leaves quite well, and I am very much nitpicking on a relatively minor concern. It's not that your leaves are at all stiff - just that they can be even better.

Moving onto the branches, you've done a great job of following the steps for constructing each edge segment, such that it starts at one ellipse, continues past the second, and stops halfway to the third, repeating the pattern for the next one and yielding a nice, healthy overlap between them. This helps to achieve a nice, smooth, nearly seamless transition as we move from on segment to the next. I do have one small reminder though, and it's something you may be aware of, but that may simply be showing up a little too subtly in your work. Make sure that the ellipses themselves are shifting wider as we slide away from the viewer, along the length of the branch, for the reasons mentioned in the ellipses video from Lesson 1.

Onto the plant constructions, you've largely done a really great job. You're showing a lot of respect for the step-by-step, one-problem-at-a-time approach of the constructional method we use here, and as a result you've been able to build up these various structures in a way that maintains the solidity of their simplest stages, as you continue to build up more complexity bit by bit. I'm also pleased to see that you're executing your marks with confidence, but still achieving a considerable degree of control and accuracy.

I really only have a couple quick suggestions for you to keep in mind:

• When constructing cylindrical flower pots, be sure to do so around a central minor axis line to help you keep those ellipses aligned to one another. You do this sometimes, but there are cases where you leave it out.

• Also when tackling those flower pots, be sure to include another ellipse inset within the opening to help suggest the thickness of that rim, rather than leaving it paper-thin. You can also include another ellipse to represent the level of the soil itself, so the stems of your plants have something to intersect with.

• This one isn't actually a mistake, because it's not something we really discuss here just yet, but it's something I wanted to call out so you'd keep it in mind for the next one. In this lesson, we add edge detail to our leaves by modifying that leaf's silhouette. This works great for leaves and flower petals, largely because they're already flat - but when we apply them to forms with volume, such as this cactus, it actually does undermine their solidity, and causes them to flatten out. In these notes, I demonstrate this issue, and also provide an alternative approach for building such structures up.

So! All in all, fantastic work. I'll go ahead and mark this lesson as complete.