It is entirely okay for each page to contain only one drawing. Generally it comes down to however much room you feel you need to do a specific plant, ensuring that you're not making the drawing too cramped and limiting your brain's capacity to think through spatial problems. If that means drawing everything really big and limiting them to one per page, that's perfectly alright.

Starting with your arrows, these are looking pretty good. You're doing a good job of applying perspective to the positive space (the width of the ribbons, which gets narrower as the arrows move farther back), and in many cases you are applying this compression of space to the negative space (the distances between the zigzagging sections) as well.

You're also conveying a strong sense of fluidity and motion to these arrows which carries over very well into your leaves. The leaves you've drawn give a good sense of not only how they exist in 3D space, but also how they move through the space they occupy. I'm also pleased to see how you're abiding by the constructional principles covered in the leaf exercise instructions - every piece of edge detail you build up is done so directly on top of the structure laid out in the previous phase of construction. You're maintaining strong, direct relationships between these phases, instead of treating the previous phase as more of a suggestion. Very well done.

It looks to me like you're following the branches exercise quite closely as well, and as a result you've done an excellent job of getting your edge segments to flow smoothly from one to the next. This can be particularly difficult, and without looking closely it can be difficult to even identify where you move from one segment to the next. As a result, your branches largely look very solid, and are mostly able to maintain a consistent width throughout their length, which contributes to their believability as three dimensional structures.

Moving onto your plant constructions, you've mostly done a very good job, but there are a few minor points I'd like to raise.

• Your daisy was quite well constructed, but you're definitely leaning hard into using line to capture the little ridges in your petal texture, rather than cast shadows as discussed back in lesson 2. Sometimes the shadow shapes would get so narrow that it's difficult to tell the difference, but one key thing to notice is that they maintain a pretty consistent thickness throughout each stroke (and some of yours tend to hook at the end). One thing to keep you focusing on the use of shape instead of line in cases like this is to make a point of actually drawing each shadow shape as a circuit. That is, don't draw a stroke with a start and end point that is different - actually outline a shape, then fill that in, as shown here.

• For the potato plant, again - good construction, but you kind of half-did the cast shadows. That is, you filled in the negative space between the leaves, but neglected to actually draw any of the more specific cast shadows shown in the demo. The only reason this is of some importance is that some students mistakenly think that filling in the space in between forms (negative space) is normal practice. The only reason we did that in this case is because the forms themselves provide enough cover for us to reasonably assume the cast shadows would fill in that area. All black shapes are going to be shadow shapes - so they should always be projected onto some kind of surface, and generally their shape will relate directly to the form that casts them. In general, if you're going to delve into cast shadows, you should definitely apply them across the board.

• The small little growths on the baby-stalks of this cactus appear to be more in the realm of texture. That is, instead of constructing each and every one directly, you should be implying their presence by capturing the shadows they'd cast on their surroundings. The reason for this is that the forms are small and numerous, and also more importantly, they adhere to and follow the surface of another form. Employing textural techniques instead of construction here will avoid unnecessary visual noise from the more explicit drawing of each little textural form.

• On this flower, you end up using cross-hatching to transition from light to dark. This is one of those situations where actually creating such a transition is entirely valid within the scope of our lessons, but when such situations come along, you should not be using any hatching whatsoever. Instead, study the surface of the forms in question and use the textures you find there to create a pattern of dark and light shapes that actually tells us more about that surface. Hatching is just generic nonsense that doesn't actually contribute to a drawing in any way aside from decoration, and as explained back in Lesson 2, that specifically is what we want to set aside when tackling these lessons.

As you've probably noticed, all the issues I've really addressed were related to texture and cast shadows. This is because your actual construction is very well done. As such, I'll go ahead and mark this lesson as complete. Keep up the good work.