Starting with your arrows, these are definitely drawn with a lot of confidence, which helps to capture the way in which they move fluidly through all three dimensions of space. This carries over fairly well into your leaves, where you're both capturing how the leaves sit statically in 3D space, as well as how they move through the space they occupy. You are also generally doing a good job of building up the edge complexity, although I am noticing that when the leaf you choose to draw becomes more demanding - for example the upper left corner one, with its many individual spikes coming off the edge - you have a tendency to execute those marks just a touch more sloppily than those which are simpler. It's very minor here - for example, small gaps like this or shooting past the existing silhouette's edge like this. The only reason I'm bringing it up here is because it comes up in your later drawings a little more notably, but we'll get to that in a bit.

The last thing I wanted to call out before moving on from this exercise is where you tried to jump into texture. Remember above all else that as discussed back in Lesson 2, texture isn't just arbitrary decoration - it's made up of specific little textural forms along the surface of our objects, and the marks we draw are meant to imply their presence on a specific, intentional basis. It's easy to get caught up in the idea that adding detail is all about decorating your drawings and making them more visually pleasing, but decoration itself is not a particularly specific or clear goal to strive for.

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.

Continuing onto your branches, your work here is largely coming along really well. You're extending your edge segments fully halfway to the next ellipse, considering the natural degree shift in your ellipses, and maintaining consistent widths for your tubes to help promote the kind of simplicity that lends itself to an illusion of solidity. Just one quick suggestion - try to draw your next segment such that it overlaps the last chunk of the previous segment directly. Right now you're drawing those segments where the previous one ought to have been, but if you overlap them directly, you'll be able to learn from them more effectively (although this will make things a little more difficult at first).

Moving onto your plant constructions, overall your work here is coming along well in a lot of ways, but there are a few issues I want to call out to help keep you on the right track:

• To start, what I mentioned before about greater complexity leading to sloppier linework is represented a bit more clearly in the Fritillaria Persica drawing. Obviously while this one wasn't necessarily complex, it was very demanding in the sheer quantity of flowers. It was, however, something you chose to tackle. It's always important to keep in mind that amount of time a drawing will take us is not determined by how much time we have to offer it. We do not need to be finished by the time we get up and move onto another task, and we can certainly break up a single drawing across as many sittings or days as we need. What determines how long a drawing will take is how complex and demanding it is. A drawing that consists of a thousand lines will inevitably take longer than a drawing that consists of only a hundred. It is still our responsibility to ensure that every mark is executed to the best of our ability. I actually talk about this in the purpose section of the ghosted planes exercise. Be sure to give it a quick read to refresh your memory.

• As an extension of the previous point, remember that you can choose not to draw the entirety of a complicated plant. There are plenty of cases where a plant may feature numerous flowers, but you aren't required to capture everything present in your reference image. The reference image is just a source of information - you can choose to focus in on a few specific flowers to study them in greater depth, and at greater scale on the page to really explore the forms they're made of. There is nothing wrong with doing so - these drawings are all exercises after all, looking at how forms relate to one another in 3D space, and how they can be combined to create more complex objects. This can be done just as well with simple subject matter, as it can with complex subject matter. One might even argue that keeping things simple allows us to focus on the more important things a bit more easily.

• In a few of these - the lettuce most notably, but also to a point, the rhubarb - you run into an issue when adding wavy edges to the leaves where you end up replacing the vast majority of the simpler structure that was there previously. This is tricky - in doing so, you end up losing a lot more of the structure that gave the construction its solidity. Construction works by maintaining tight, specific relationships between each step. Those tight, specific relationships inherently mean that wherever we can, we let the earlier phases of construction speak for themselves without being replaced by new linework. The more we replace (to build up greater complexity and such), the less of that solidity we can carry forward, and inevitably we hit a point where it's not that different from just having drawn a very complex (and very flat) shape from the beginning. Unfortunately there's no specific "right" answer for tackling this, but there are things to keep in mind, which I've marked out here. Along with those points in the bottom right corner, I did catch spots where you ended up falling into the trap of zigzagging back and forth across the previous phase of construction, as explained here. I get that you did so with separate marks, but the result is still largely the same.

• One last point - when dealing with cylindrical flower pots, be sure to construct them around a central minor axis line, to help keep your ellipses aligned to one another, and include as many ellipses as are needed to build out the entirety of that flower pot's structure. Don't just stop at a basic cylinder - at the very least, you'd want another ellipse inset within the opening to capture the thickness of the rim, and perhaps another to establish the level of the soil inside the pot. Each of these would be their own complete ellipses, aligned to that minor axis line.

I've shared a number of important things for you to keep in mind here, but all in all I still think that you're good to move onto the next lesson. I'll go ahead and mark this one as complete.