Starting with your arrows, you're doing a good job of drawing these with a good sense of confidence and fluidity, capturing how they move through space. Do however remember that as we look farther back, the gaps between those zigzagging sections should get narrower, as shown here.

Moving onto your leaves, you're capturing them with the same kind of confidence and fluidity as your arrows, pinning down not only how they sit in space, but also how they move through the space they occupy. When it comes to building up your edge detail, there are a number of these where you've done a great job - building up individual pieces of complexity onto the previous, simpler phase of construction, adding that complexity without losing the underlying complexity. There are also some where you don't do quite as well.

In this one you end up zigzagging back and forth across the previous phase of construction, which effectively undermines its structure as explained here. Additionally, this one still maintains its overall structure, due to the closeness with which it adheres to the previous structure, but generally you should try to avoid outright replacing the previous construction where possible. Also, working additively when possible is generally preferable to working subtractively (that is, adding onto the existing structure rather than cutting into it) because it doesn't leave construction outside the silhouette of your resulting form.

Moving onto your branches, these are coming long well and you're doing a great job of maintaining a consistent width throughout the length of each one, which helps each feel solid. There's just one shortcoming - you aren't extending each segment fully halfway to the next ellipse. This, as explained here in the instructions, helps us transition more smoothly and seamlessly from one segment to the next.

Continuing onto your plant constructions, overall you've done a great job. There are however a few things I wish to point out:

• As discussed previously, don't go out of your way to simply replace previous phases of construction. The point of construction is not to draw the entire object at every step - it is to build upon what was there previously. If it doesn't need to change, don't redraw it. For example, the leaves of your philodendron should have been handled as shown here.

• Additionally, remember that line weight serves a pretty specific purpose. Rather than simply reinforcing silhouettes arbitrarily, it is intended to help clarify the overlaps between specific forms, in particular localized areas. Using it in this manner only will help you avoid overdoing it, and being too obtuse with the thickness of your lines (which can flatten things out by turning them into graphic shapes). Also, going back over silhouettes tends to cause students to trace more carefully, which makes their linework more stiff and hesitant, or conversely, more scratchy and repetitive. Both of these break away from the principles of the ghosting method, and should therefore be avoided.

• Your flower pots are generally well constructed, but be sure to draw through the boxier ones, as this helps us to better understand how they sit in 3D space. You're doing a good job of doing this with the more cylindrical ones, although as mentioned above, when you trace back over them you tend to flatten out their structures.

• Not a criticism - your use of cast shadows is coming along great.

When it comes to texture and detail, for the most part you're doing a good job. One thing that may help better understand how to think about where detail should be added, is to think about specifically what the goal is in its use. When students simply think about detail as decoration, it isn't terribly useful, because decoration is a vague and arbitrary concept. Fortunately, decoration's not what we're after 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.

So, at its core, detail serves to communicate the information we can feel with our hands, rather than the things we can see visually. It's best to ignore any information pertaining to local colour - the colour of specific surfaces, or patterning. Treat it all like it's covered in the same flat white, and focus on the forms that are actually present, and the shadows they cast on their surroundings. For the most part, you've done a good job of this already, but hopefully this explanation will provide you with some direction and structure to what you're already doing quite well, and will help you avoid overdoing it (arguably in the sun flower, you got a bit too caught up in arbitrary decoration).

So! All in all, very well done. I'll go ahead and mark this lesson as complete.