Starting with your arrows, you're drawing these with a fair bit of confidence behind your linework, which helps to capture a sense of fluidity in how they move through the world. This carries over into your leaves fairly decently, especially in the earlier stages, although I do think some of how you build up your edge detail does hinder this fluidity somewhat.

There are a few ways in which your addition of edge detail can be improved:

• Firstly, when you're building on little bumps or waves, make sure that they flow smoothly and seamlessly back into the existing edge. As shown here, we want to as much as possible avoid little overshoots, small gaps, and sharp corners (although I'll elaborate a bit more on this last one in a bit). Each addition should seamlessly extend the silhouette of the leaf. Gaps and overshoots will make it clear that we're looking at a separate, independent stroke, and that the leaf is actually just a collection of lines.

• Secondly, you have a tendency to draw your edge detail with a heavier, darker stroke than the previous phase of construction. Don't - it can encourage you to redraw more than you need to, and also creates a distinction between the different phases of construction. Try to stick to roughly the same line thickness. If you're dealing with many different leaves (like in a plant construction), then you can come in back later with a pass to add line weight, specifically to help clarify how those leaves overlap one another (as shown here, note that we're not putting line weight everywhere, just where the overlaps occur).

• Thirdly, when merging different structures together (in the context of constructing more complex leaf structures), it's still important that maintain really tight relationships between the different phases of construction. So for your more complex leaf construction, I would merge those smaller leaves together as shown here - because these lines are simply extensions of an existing leaf's trajectory, being extended out until it hits the next leaf. In yours however, you set out at an arbitrary angle, and a lot more "padding" around the leaf structures. Of course, if this doesn't match what you're after with your leaf, you can still go on to build on top of the resulting structure (something I do in the last step of this demo).

So I mentioned that my first point (specifically avoiding sharp corners) would require a little further discussion, because technically it's not an actual rule. You are allowed to have sharp corners where edge detail hits that existing edge from the previous phase of construction, but only if that matches the leaf you're drawing. If you're trying to capture a wavy edge on a leaf, then this won't work - but if on the other hand you're trying to create the impression that pieces have been cut out from this leaf (as shown here), then having those cuts come out at sharp angles from the simpler edge would be appropriate.

Continuing onto your branches, there are a number of concerns present here as well:

• As discussed back in Lesson 1, you need to be drawing through all of the ellipses you freehand throughout this course two full times before lifting your pen.

• Note that in the instructions, you're given a specific pattern to follow when drawing your edge segments. The first goes from one ellipse, past the second, and stops halfway to the third. The next segment then starts at the second ellipse and repeats this pattern, resulting in a healthy overlap between the edge segments of about half the distance between the ellipses. This overlap helps immensely in achieving a smoother, more seamless transition from edge to edge ,and unfortunately it's either lacking or heavily minimized in your work here.

• Lastly, keep in mind that the ellipses should be shifting in their degree - that is, getting wider - as we slide along the length of the branch structure, moving farther away from the viewer. The reasoning for this is explained in the Lesson 1 ellipses video. Technically the turning of the branch structure itself also impacts this, but farther = wider is generally a good rule of thumb to use.

Finally, moving onto your plant constructions, there are a few things I want to call out here, but overall the process you're using here is largely correct (you're building up from simple to complex, as per the constructional method), but admittedly my biggest concern here is that your linework could definitely make better use of the ghosting method, in order to achieve greater control. Right now there are definitely quite a few things that are sloppy, and it really comes down to whether or not you're putting the time you require to do this work to the best of your current ability. There are a lot of places where you end up slipping back into sketchy or scratchy linework (like here when you were adding edge detail to one of your flower petals on this page), or putting seemingly less important marks down haphazardly (like here on this page).

From what I can see here, you're underestimating just how much time these drawings can ostensibly take, and you need to slow yourself down and give yourself more time to observe your reference carefully, and to think through each and every mark you want to put down (investing time into the planning phase of the ghosting method for each and every stroke). You're not doing especially badly here, but you do have it in you to do far better. You're simply not giving yourself the time to do so.

Here are a few more specific things I want you to take note of:

• When drawing along with the hibiscus demo, you correctly drew your flow lines such that they stopped right at the perimeter of that starting ellipse. This is correct, as the ellipse was an early step of the construction where we asserted just how far out each petal would reach, and so stopping the flow lines there kept the relationships between those two phases of construction tight and specific, so the solidity could pass more easily from one stage to the next. Unfortunately, when you drew the petals however, you ended up leaving a large gap between the end of each one's flow line and the tip of the corresponding petal, resulting in a much weaker relationship between the steps. Always keep those relationships tight - if the flow line ends at a particular point, the petal or leaf should as well, to the best of your ability. Avoid contradicting yourself later on by providing a new answer to a question/problem you've already solved.

• Looking at this potato plant demo, it definitely stands out that you did not follow the steps for the demo all that closely, and you ended up getting somewhat derailed to the point that you did not actually complete the last step of the demo. As a result, instead of having those larger areas of solid black defined as being shadows cast from the heavy foliage onto the dirt below, they look more like arbitrary "artistic" choices being made. My point here is pretty straight forward - follow the demonstrations as closely as you can, for every single step. Don't follow them loosely or without focus, and don't actively change the demo (for example, here it seems like you cut down on the number of leaves).

I'd like you to address the points I've raised here, so I'm going to assign some revisions below.