Starting with your arrows, these are drawn quite well. They flow smoothly and confidently through space, conveying a strong sense of fluidity to how they move. Just one thing - don't forget to have the gaps between the zigzagging sections shrink as we look farther back, as shown here.

Moving onto your leaves, you've carried over that sense of fluidity very nicely, and captured not only how the leaves sit in space, but also how they move through the space they occupy. While you didn't experiment as much as I would have liked with more complexity, the couple instances where you added more complex edge detail were done correctly, adhering closely to the previous phase of construction and building on top of it instead of attempting to replace the existing structure or redraw things that had already been defined. Moving forward from this, be sure to play with more complex leaf structures.

Moving onto your branches, these are generally coming along well, though I'm noticing quite a few places where you're not extending your segments fully halfway to the next ellipse. As shown here, the overlap between segments is critical to help us transition smoothly and seamlessly from one to the next. By leaving them short, we end up with decidedly more jerky transitions, and a stiffer overall branch form.

Moving onto your plant constructions, you're largely doing quite well, though I do have a few things to call out:

• A minor point, but for your hibiscus, remember that the initial ellipse defines where our petals are meant to extend to. It essentially answers that question, and so each petal's flow line must extend no further than that perimeter. In turn, the petal shapes themselves will also extend no further than it. While this means that laying down the ellipse a little incorrectly will "doom" the drawing to not match the reference perfectly, that's fine. It is more important that we maintain cohesion and consistency throughout the construction, rather than creating little contradictions that accumulate and ultimately undermine the viewer's suspension of disbelief. Minor of a point it as it may be, it also speaks to the core principles of construction and how it all works.

• When drawing flower pots, a few things to keep in mind: Firstly, construct them around a central minor axis line, in order to help keep those ellipses aligned to one another. Secondly, don't be afraid to include more than just the basic top and bottom ellipse of the cylindrical form. Having two ellipses at the top to create the thick "rim" around the opening, another ellipse to establish the level of the soil, and anything else that may help you capture the form of the pot is well worth adding.

• All areas of filled, solid black, are reserved only for cast shadows. There may be circumstances where you've seen me putting solid black in between leaves (in the potato plant for instance). These are still just cast shadows, being cast upon the dirt. In order to read as such, however, it's necessary to actually ensure that all the forms cast these kinds of shadows, either leaves on other leaves, or leaves onto the ground. In some areas, certain negative spaces between leaves may just get filled in with solid black - but in order to ensure that the viewer understands this to be cast shadows, the other more concrete shadow shapes are necessary. Here I'm mostly referring to the calathea zebrina, where you only filled in the negative spaces, and may have misunderstood what I was doing in the potato plant. You also did something similar in some other plants, where the filled black areas would be floating in the air. In such circumstances, you can subtly reinforce the line weight of those forms' silhouettes, though that line weight should be kept gentle and slight.

• Always remember that every textural mark should be drawn as a shadow shape. So in the hibiscus, for instance, where you have those ridges along the petals, those should be captured not as lines, but as actual shapes. We can do this more consistently by making a point of drawing every such mark using this two step process. This allows us to make more dynamic textural marks, whereas basic lines/strokes tend to be more uniform, as shown here.

Aside from that, your work is coming along very well. I'll go ahead and mark this lesson as complete.