Starting with your arrows, nice work! You've drawn them with a good sense of confidence, which really helps to nail the fluidity with which they move through the world. You're also doing a good job of concentrating your line weight right at the areas where the ribbon overlaps itself - although keep striving to execute that additional line weight with more confidence too, to avoid hesitation. Sure, your accuracy may suffer a little at first, but these are exercises after all, and it will come back in line with a little more practice.

This sense of confidence and fluidity carries over pretty nicely into your leaves, where you've done a good job of not only pinning down how the sit in 3D space, but also how they move through the space they occupy. You're also handling edge detail fairly well, building it upon the existing structure with a tight, specific relationship to the previous phase of construction's structure - although I am noticing a tendency to increase your line thickness with successive stages of construction, which in turn is encouraging you to redraw the entirety of the leaf at each step. This is incorrect - try to keep each phase of construction to roughly the same line thickness, and only draw the parts that actually need to change from stage to stage.

Also, I noticed two attempts at more complex leaf structures here - the one towards the left, and the one towards the right. Both have some issues:

• The one on the right is pretty close to good, but because of the scale of the drawing you opted to skip over the "flow" line for each of the smaller leaves that exist as part of the larger structure. I can certainly understand why, but remember that this is an exercise with specific steps, so the purpose of this activity is to apply those steps in each varying case. So here I might have opted to draw that complex leaf larger (there is some more room to be sure, though not that much more in that particular space), or to simply use the flow lines and let things get cramped if that's what's inevitably going to happen.

• For the one on the left side, here it appears that you didn't actually tackle this as a complex leaf structure, but you definitely should have. Each individual arm would be its own separate structure, and then you'd merge them together in the end, in the manner demonstrated here and here.

Continuing onto your branches, your work here is largely well done, but I do have a few suggestions:

• Be mindful of the specific degree you use for your ellipses - right now you're drawing most of them with roughly the same degree, but as discussed back in the Lesson 1 ellipses video, the degree of a given ellipse conveys the orientation of that particular circular disc in space, relative to the viewer. In the case of a perfectly straight tube, the degree of our contour ellipses will get wider as we slide along its length moving away from the viewer, and then on top of that, it would also get narrower or wider depending on how the branch itself turns in space.

• You're definitely packing your ellipses pretty densely here. When doing this exercise in the future, try to space them out based on what you actually will need, only placing the ellipses where you know things get a little too complex to tackle in a single stroke.

• I do suspect that you may be, at least at times, forgetting about the importance of having each segment extend fully halfway to the next ellipse. This is a common thing students forget (which as shown here is important because it leads to a greater overlap between segments, which in turn helps achieve a smoother, more seamless transition from segment to segment), but in your case it's largely hidden by the fact that there's very little actual space between those ellipses. I did notice that in this one however, you did end up drawing each segment so it only extended a little past the previous ellipse, falling quite short of that midpoint.

Moving onto your plant constructions, we get into some tricky territory. To start, your drawings are lovely, and they demonstrate really strong overall observational skills. You're clearly attentive to all that is present in your reference image, and do a great job of copying it over into your drawings... but the thing is, when it comes to applying the actual constructional principles of the lesson, you're falling quite short. To be fair, your approaches vary across the set, so it makes more sense to talk about each of these groupings of drawings one at a time.

Starting with pages 4-6, these tend to treat the earlier phases of construction as a loose, general exploration. Rather than each step building up something solid and tangible in the world, which is then built upon (as though the whole thing were a real, physical structure, rather than a drawing on a page), the relationships between the phases of construction are left vague and loose, and steps are often skipped. For example, if you look at the Fiddle Leaf Fig on this page, you introduce some more complex waviness to the individual leaves, but without first laying down enough structure to support them. This quick example I did for another student today helps convey the importance of intermediary steps where they're necessary.

Page 7 is very close to being what we're looking for, with just a few minor shortcomings:

• Remember that for every ellipse you freehand in this course, we want to be going around the elliptical shape two full times before lifting our pen, as discussed back in Lesson 1.

• When you've got a bunch of different structures overlapping one another, like in the lotus, be sure to draw each one in its entirety, rather than cutting them off where they're overlapped by their neighbours. This helps us to understand how each form sits in 3D space, and how they relate to one another within that 3D space, rather than focusing on our drawings as just drawings.

• I noticed that you used a linor axis line to draw the flower pot for your cactus drawing on this page - I'm very pleased to see that. Be sure to employ this in every cylindrical structure. I noticed that in many of your other flower pots in other pages, you skipped right to the ellipses. The minor axis line being present first can help us align our ellipses to one another. With flower pots especially, we're often going to need more than just the top and base of the cylindrical structure - another inset within the opening can be used to suggest the width of the pot's rim, and another can be set to define the level of the soil, basically producing a disc with which the plant itself can intersect.

Jumping down into your more detailed drawings (pages 9-11), you use some of the elements of construction at time, but tend to focus more on just making really nice drawings. And you do, but that really isn't the focus of this course. Every drawing we do here is an exercise - a spatial puzzle that we have to solve, and in so doing, each one helps rewire the way in which our brain perceives the 3D space in which our drawn objects exist. To this effect, the kind of decoration you've used here is largely contrary to what we're after. Decoration itself speaks to a goal of making your drawing as visually pleasing as possible - a relatively arbitrary goal that does not line up with our purposes here.

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.

The last thing I wanted to call out is about how you're using the space on each page. There are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

Now, you're obviously very capable, but I do need to see that you can apply the principles of the lesson more consistently throughout your drawings, so I will be assigning some revisions. You'll find them listed below.