Starting with your arrows, you're doing a great job of drawing these with a great deal of confidence, which helps to push the sense of fluidity with which they move through the world. This carries over decently 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.

I do however have some concerns in regards to this exercise. First and foremost is the fact that you're jumping back and forth between a more regularly sized pen (I'm assuming your 0.5mm fineliner), and a much thicker one. All of the drawing you do throughout this course should be done with the 0.5mm fineliner - you should not be switching up your pen throughout a drawing, except to fill in shadow shapes, which you can do with a thicker pen or a brush pen, as long as the intended shadow shape was first designed and outlined with a regular 0.5mm fineliner. You can see what I mean in the Lesson 0 tools video, specifically at the 14:13 timestamp (you can also get there by clicking on the "Brush pens" book mark in the video description).

The other point that I wanted to raise is that there are some notable issues in how you're adding edge detail:

• In these two leaves you're very prone to zigzagging your edge detail back and forth, rather than building each bump separately.

• In this one you generally maintain a tighter relationship with the previous phase of construction, but you should be trying to stick to the same general line thickness from one stage of construction to the next, rather than arbitrarily making them darker as you progress. Making them darker will encourage you to redraw more of the leaf than you need to. Instead, each step should only add what it needs to to define what has changed, and ideally we'd want as much of the early structure to shine through as it can, as it's from the simplicity of those earlier structures that allows us to maintain more solidity as we gradually build up complexity.

• Here you appear to have added the edge detail by simply redrawing the leaf in full within the space defined by the previous phase of construction, but without actually building off it, so the result ends up feeling far more complex than it should be.

• This one isn't too far off, but you end up jumping ahead in stages of complexity. We can count 6 "major" bumps off the flat edge of that leaf, but each of these major bumps has a lot of its own smaller bumps if we look more closely. Instead of drawing them in one go like this, you should have first drawn the 6 big bumps as simply as possible, then built the smaller bumps onto that structure, breaking it down into successive stages. That is to say, there aren't a specific number of steps to constructional drawing - rather, we work from simple to complex, only ever adding as much complexity as can be supported by the previous phase of construction. If we need to achieve far greater levels of complexity, we add intermediary steps to build up the structure required. You can see an example of this here on this example on another student's work. Note how I've colour coded each of the separate steps.

Continuing onto your branches, there are two main things to keep in mind:

• Each edge segment should be extending fully halfway to the next ellipse, as shown here. It can also help to purposely draw the next segment so it overlaps the last chunk of the previous one directly, rather than drawing it where the previous one ought to have been. This makes things a little tougher by forcing us to face our mistakes and account for them, but in so doing it also helps us learn more from the process.

• Also, keep in mind that as discussed in the Lesson 1 ellipses video, the ellipses should be getting wider as we slide along the length of the tube structure, moving away from the viewer.

Oh, you're somewhat inconsistent in drawing through your ellipses as well - sometimes you do it two full times, sometimes you do it one and a half, other times you only draw one full turn of the ellipse. Be sure to draw through your ellipses two full times before lifting your pen, as discussed back in Lesson 1.

Moving onto your plant constructions, the points I've already raised do continue to apply, but there are a couple more things I want to call out. None of them are especially dire, and overall you're doing decently, but these are some things I think it would be worthwhile to draw attention to.

• When drawing your cylindrical flower pots, be sure to construct them around a central minor axis line, to help you in aligning your various ellipses. Additionally, don't limit yourself to just defining two ellipses, one for the top and one for the base. Include at minimum another ellipse inset within the opening to help define the thickness of the rim (since our flower pots are not paper-thin), as well as another to establish the level of the soil, to give our plants' stems something to intersect with.

• When drawing cast shadows, you need to think about where your light source is, and ensure that your cast shadows are being cast in a consistent direction, based on that light source's position. If we look at this page, you're casting your shadow in arbitrary directions which do not suggest a consistent light source.

• The major arms of this palm tree should have each been drawn as a 'complex' leaf structure (as shown here). Meaning, one big leaf shape for each "arm", defining the overall footprint, and then individual flow lines and leaf structures for all of the smaller leaves inside. Here you appear not to have employed any of the leaf construction steps.

And that about covers it. I'll be assigning some revisions below, primarily focusing on the issues with the leaves and the branches.