Starting with your arrows, these are looking pretty solid. You've done a great job of drawing them with a great deal of confidence and fluidity, pushing how they move through space. There are just two things to keep an eye on:

• I noticed that you have a tendency to redraw the same line twice, along the full length of each arrow. Limit yourself to one mark per line, and if you wish to add line weight afterwards, remember that line weight is meant to be focused in small localized areas to help clarify overlaps between forms (so for example where the arrows bend back over themselves). Do not attempt to trace back over the entirety of a line.

• Remember that you should be compressing the gaps between the zigzagging sections as we look farther back in space, as shown here.

Moving onto your leaves, the same confidence and fluidity of your arrows carries over here, helping you capture not only how the leaves sit in space, but also how they move through the space they occupy. There are a couple things to keep in mind here as well however:

• Construction is all about building directly on top of the results of previous steps - that means maintaining strong, solid relationships between them. So for example, if we look at this leaf, you started with a flow line down the middle and created the outline of the big leaf shape, which is all fine. When you then started drawing the smaller leaf shapes' flow lines, they should have extended all the way to the edge of the big shape, not to some arbitrary distance. There should be no gaps. Extending those flow lines all the way means those smaller leaves also extend all the way to that outer perimeter.

• Similarly, when adding more complex edge detail, don't zigzag back and forth across the previous phase of construction as you did here. Instead, draw each little bump separately, coming off the previous phase of construction and returning to it as shown here. Each phase of construction does not replace the one before it - it merely builds up areas where it has changed, as shown on this other student's work.

Moving onto your branches, you're largely following the steps fairly well here, although there are definitely some places where you haven't quite extended your segments fully halfway to the next ellipse, resulting in a more limited overlap. The overlap is critical because it helps transition more smoothly and seamlessly from one to the next, as explained here.

Continuing onto your plant constructions, overall you're doing a pretty good job, but along with the points I made above about your leaves and adhering to the previous phases of construction, there are a few things I want to draw your attention to.

• First and foremost is that I noticed a lot of liberal use of heavier line weight/cast shadows in ways that suggested you weren't necessarily distinguishing between the two. While they're similar in some ways, line weight and cast shadows have to adhere to different rules. Line weight can cling to the silhouette of a form, but has to remain very subtle and light, rather than getting super heavy and dark. It relies on relative changes in thickness that one's subconscious will notice. It's like whispering, rather than shouting. Cast shadows on the other hand do not cling to the silhouette of a form, and instead are cast onto a different surface. They can be much broader and heavier, but we can't have them floating arbitrarily in space without an actual surface to receive them. We also need to be mindful of where our light source is. For example, if you look here, you'll see that you've got the shadow being cast both above and below the petal. This suggests an inconsistent light source. It should be casting below, or above, but not both simultaneously.

• Filled areas of solid black should be reserved only for cast shadows and nothing else. Don't fill areas in (like if you've got the underside of a leaf, don't just fill it in to separate it from the top side), and as mentioned back in lesson 2, we are not to include any form shading in our drawings. So you shouldn't be using filled black areas to try and shade your drawings either, which I definitely see in a number of places.

• To the point above about shading, and texture/detail in general: 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 always make sure you know what you're trying to achieve with a given mark. Don't get caught up in the need to decorate your drawing.

• Looking at your flower pots, just make sure that you construct them around a central minor axis line (around which you can align your ellipses), and that you're not afraid to drop in more ellipses to define every little feature. If it's got a thick rim, use two ellipses to define it (an inner and outer one), if the rim has a "taller" section at the top of the pot like this one, use another ellipse to define its bottom edge, etc.

Now, while there is a lot here for you to keep in mind, overall I'm still fairly happy with your results. So I'm going to go ahead and mark this lesson as complete.