Starting with your arrows, these definitely flow quite well through space, though there's one key problem I'm noticing - while you're applying perspective properly to the positive space (the width of your ribbon and how it gets narrower as it moves away from us), you're not applying it consistently to the negative space (the distances between the zigzagging sections). In some cases - for example, the top left arrow - you're actually applying it in reverse, with those gaps getting larger and larger the farther back we look. Remember that perspective applies to space as a whole, and everything will get tighter and more compressed the further away it goes.

Your leaf constructions are pretty well done, if a little bit stiff. They're definitely conveying a decent sense of flow, but I do get the sensation that when you're drawing the initial flow line, you could stand to push through that stroke with a little more energy and confidence. There isn't any wobbling or visible hesitation, just the subtlest sense that you're holding yourself back.

When it comes to detail, I have two points to mention - in the top left there, you've got the edges cutting back across the edge laid down by the previous phase of construction, almost as though the original simpler edge was just a little further out. Construction is all about making decisions with each phase, and once they're on the page, we have to adhere to them. So in this case, you'd either be treating that original simple edge as the minimum or maximum of your more complex edge detail - either that edge detail would go no further than that edge, or the silhouette of your leaf would be extended from it as a baseline. I explain this somewhat in these notes. You are definitely doing a better job of this with your other leaves, but it was still worth mentioning.

Lastly, when dealing with texture - specifically the veins on the surface of a leaf - always remember that everything you perceive as a line is really a shadow being cast by some form information present on that surface. In this case, veins are 3D forms, and what you perceive are actually the shadows cast on either side of that slight rise in the profile of the surface. The shadows themselves do not form a pattern of simple branching lines, though at a glance our brains may simplify it to that. When drawing texture, take greater care in studying reference imagery, and focus on the shadows (and the forms they imply to be present).

You've done a pretty good job with your branches, for the most part. You're maintaining an even, consistent width throughout the length of each form, and you are extending your line segments fully halfway towards the next ellipse. One thing you may want to do to reduce the visible "tails" you get when your lines don't quite fall directly on top of one another is to purposefully use the last chunk of the previous segment as a runway, overlapping it directly before shooting off towards the next target. This will force you to deal with the fact that these lines' trajectories aren't quite aiming correctly towards the next goal, which in turn will help you bring them back in line. Currently you're able to have them veer off slightly with no actual direct consequences for what that means for the next line to follow. This is entirely normal though - it's a difficult task, and it is something that will improve with practice.

Overall your plant constructions are fairly well drawn, and you are employing the principles from the lesson pretty effectively. There are a few hiccups here and there that I'm noticing, but all in all the drawings are well constructed.

• The petals on your sunflower seem to be drawn a touch haphazardly. That is, your lines don't all meet together cleanly, we get a lot of overshoots and flyaways. Always remember to apply the ghosting method to everything you draw, be they straight lines, curves, ellipses, etc. It is designed to help us add control to our mark making while also maintaining confidence in our stroke.

• Also for the sun flower, remember that you should never leave the end of a form (like your stem here) open-ended. Always cap it off, as though the form has been cut clean with a knife. In this case, we'd cap it off withan ellipse right at the bottom. Leaving forms open instead of fully enclosed reminds us that we're looking at a flat drawing.

• I felt your hibiscus came out quite well, and I'm pleased to see how you clearly built upon your underlying structure when adding edge detail to the petals.

• For this drawing, a few points. Firstly, when constructing a cylindrical structure, always build around a minor axis line. This will help you align your ellipses to one another. Secondly, always remember that forms like flower pots aren't paper-thin. They have thickness to their opening where you'll find a bit of a "lip". Constructing this will involve concentric ellipses - that is, ellipses that fit inside one another. This makes the minor axis all the more important. Lastly, when it comes to applying your solid black shapes, don't confuse form shading with cast shadows. As discussed here, we're not applying form shading to our drawings. In addition to this, don't use solid black shapes to "fill in" a space (like you've done for the interior of the flower pot. Wherever you see a solid black shape, it should only ever be a shadow being cast by one bit of form onto another surface.

All in all, while there are a few things I've pointed out for you to keep in mind, you're doing quite well. I'll go ahead and mark this lesson as complete.