Jumping right in with your arrows, you're off to a great start here. You've executed these with a lot of confidence, which goes a long way towards establishing the fluidity with which these move through all three dimensions of space. This carries over very nicely into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy. Furthermore, as far as tackling edge detail and more complex leaf structures, you are knocking it out of the park. By which I mean, you're following the instructions very closely and carefully - which when I say it like that doesn't sound like much, but a lot of students struggle with that, so I'm very pleased thus far.

It seems you're keeping up the trend with your branches - you're extending each segment fully halfway to the next ellipse, which generally helps a fair bit to achieve smoother, more seamless transitions from one to the next. That said, one thing that can help push that farther is to use the last length of the previous segment as a runway, overlapping it directly rather than drawing your next segment where the previous one ought to have been. This will make it a little harder, but it'll also make it more beneficial, helping you to correct those mistakes more quickly.

As a side note, good on you for shifting the degree of your ellipses in a manner that corresponds to the turning of the tube through space.

Continuing onto your plant constructions, you've done an excellent job here as well, and I only have a few quick suggestions to offer before sending you on.

• I noticed that when you were tackling these flowers, your linework did get a little more repetitive, where you'd put down more than one mark in cases where really only one was necessary. You still did this in a very structured, intentional fashion, so it didn't impact the construction - and of course, in terms of drawing in general this is a perfectly acceptable way to get things down on the page - but for the purposes of this course, we do want to make sure that every single mark is drawn using the ghosting method, and that we actively avoid putting multiple strokes down unless they're strictly necessary. A mark being off a little is not such a case - rather, we'd need to stick with the one that was put down and progress forward from there. Of course, ellipses (where we're drawing through them two full times before lifting our pen) are the main exception, so you can still feel free (and encouraged) to go two full times around those shapes. Just not for anything else, so that you don't end up getting looser and sketchier as you progress through the course.

• For this plant, I noticed that you neglected some of the branching stems, mainly where the location where the leaf connects to it is blocked from view. I actually do want to applaud you for drawing each of those leaves in their entirety (an important point towards ensuring that we fully understand how these forms sit in space, and how they relate to one another) - but as a rule of thumb, when it comes to deciding what we should draw and what we should leave out entirely, if a form is visible at all, it's best to draw it completely. So in this case, I suspect that those floating leaves' branches probably are visible where they connect to the main stem, so they should be drawn in as well - although if I'm mistaken on that, then what you did was fine.

• A minor point about that same drawing - I'm very pleased to see that you drew the flower pot around a central minor axis line, and included ellipses for the majority of the structure itself - I just wanted to call out that you could use an additional one inset within the opening to establish the thickness of that rim.

• And lastly, this isn't really worth mentioning because you do it correctly everywhere else - the two front most petals of this flower have an arbitrary gap between the end of their flow line and the tip of its petal. Actually, it's the case for the rear petals too. Always keep the relationships between your various phases of construction tight and specific. Where the flow line ends, is where the petal or leaf it governs ends. Each step is a clear decision being made, and if we add gaps or looseness to those relationships going forward, less of the solidity from those established decisions will carry forward as we build up more complexity, and the more we'll undermine the solidity of that resulting construction.

And that covers it! I'll go ahead and mark this lesson as complete. Keep up the great work.