Starting with your arrows, I think you've largely done a good job of capturing these with a great deal of confidence, pushing the sense of how these arrows move through space. One thing to keep in mind however is that as we look farther back in space, the gaps between those zigzagging sections will compress with perspective, as shown here. You do this a little, but I do feel it could be exaggerated further.

Moving onto your leaves, while you do get a little more hesitant and stiff, I still feel you're overall tackling these with a similar sort of confidence as with the arrows. Just remember that those early phases of the leaf construction process - defining the flow line and the simple sausage - is all about conveying how that leaf moves through the space it occupies, so focus on executing them with as much confidence as you can.

When building up edge detail, you're largely doing a good job here, although there are two things I want you to keep an eye on:

• Make sure that the individual segments you add to convey each piece of edge variation flow right into the existing leaf's silhouette. I recently critiqued another student who had a similar issue, and made this quick diagram to demonstrate the issue. The key thing is that unless it's intentional (which can be the case if there are little cuts into the leaf), we want the edge variation to flow as a seamless part of the existing silhouette.

• You may need to take a little more time in drawing these individual marks - I'm noticing a lot of places where you overshoot slightly, creating little visible 'tails'. Sometimes it just happens, as all mistakes do - but investing more time into executing those marks so they flow smoothly as in the previous point will generally help.

Continuing onto your branches, you're doing a good job here - just remember to extend your edge segments fully halfway to the next ellipse, as explained here in the instructions. This will allow for a smoother, more seamless transition from one segment to the next.

Continuing onto your plant constructions, I think you have for the most part done a very good job. While the issues I addressed before are still present (as is expected), you're doing a good job of building up your structures in adherence to the principles of the constructional approach.

I'm pleased to see that for the most part you're drawing your forms in their entirety, thoguh I did notice that you drew a few peeking out from in between in this flower only as partial elements. If you add anything to your construction - even if it's mostly overlapped - make sure you construct them in their entirety, so we can fully understand how they sit in space, and how they relate to the forms around them.

One minor issue I noticed was that your use of line weight/cast shadow sometimes gets a little... muddied. I imagine you're experimenting with it, resulting in some weirdness (like on this page). As such, it's probably worth clarifying the purpose of each, and how they are distinct from one another.

Line weight is something we use to help clarify how different forms overlap one another. It runs along the silhouette of existing forms, making those existing lines thicker, but only to a very subtle degree. We want to avoid making that line weight too obvious, because this can flatten a form into more of a graphic shape. Think of it like a whisper to the subconscious.

We also don't apply that line weight along long stretches of line, instead focusing it only where those overlaps actually occur in specific, localized areas. Here's an example of how it can be used.

Cast shadow on the other hand can be as thick/broad as you need it to be, but it too serves a very specific role. It does not run along the silhouette of existing forms as line weight does, but rather it is projected from one form onto the surface of another. Where the surface doesn't exist, neither can the cast shadow. Up in the top of this plant, you appear to have tried to cast a shadow upwards from one leaf onto the one behind it. Note how the cast shadow continued running along the silhouette of the form casting it, even where there was no surface to receive it. That would be incorrect.

Cast shadows also have to adhere to a consistent light source, and it's important to consider where that light source is being placed. It definitely came off a little strange when the light source was placed below the plant (allowing that shadow to be cast upwards), so I'm thinking you weren't necessarily thinking about where it was at the time.

Lastly, cast shadow shapes are best first designed with an intentional outline, then filled in. Right now it looks like you're kind of painting those shadows on all in one go, which results in uneven, sloppy shadow shapes.

Cast shadows play a very big role in texture, where we cannot use outline to explicitly define our textural forms, but rather must imply their presence by capturing the shadows they cast. You definitely ended up working explicitly when trying to add texture in a number of cases here, so I recommend that you give the texture section of Lesson 2 another read.

Anyway, aside from those points, you've largely done a good job. The textural issues are definitely things you'll want to pay attention to, but they are not the main focus of this course, and therefore carry less weight.

I'll go ahead and mark this lesson as complete.