Starting with your arrows, they're flowing quite well through space, although there is a touch of hesitation/wobbling to the lines that suggest that you're not executing the marks with as much confidence as you ought to. Remember that the ghosting method is essentially designed to separate the process of mark making into a series of different stages, offloading the responsibility of control and accuracy onto the earlier steps so we can be freed to execute our marks with a smooth, confident stroke free from hesitation or fear of making a mistake. Now, your marks' are only slightly hesitant, but it does have an impact. Definitely keep this in mind as you move forwards.

Both of these qualities - the sense of flow and fluidity as well as that touch of stiffness - carries over into your leaves. I am however pleased with how you're applying the constructional process of building more complex details directly onto the scaffolding set out by the earlier phase of construction.

Moving onto your branches, there's a key issue in how you're applying the process that is not correct. In the instructions, you're told to draw one segment from the first ellipse past the second and halfway to the third, then draw the second segment from the second ellipse, past the third and halfway to the fourth. This should result in a good chunk of overlap between those two segments, which is key to having them flow smoothly and seamlessly together, as shown here. Right now it appears that you're often only extending them a little past the ellipse, and that you start the next segment where the previous one stopped, resulting in no significant overlap, and a "break" in flow whenever transitioning from one segment to the other.

Moving onto your plant constructions, there are a few issues but overall you're doing a pretty good job of applying constructional principles and building things up step by step to yield a solid, believable result. I'll list the main issues below:

• For this drawing, drawing through the box of the flower pot would have helped a great deal, specifically in helping you better understand how that form sits in space as a whole, and how it relates to the forms around it. Drawing through forms gives us a better grasp of the form as a whole in relation to the others in the construction. Also, right now you've constructed that pot so it maintains a paper-thin edge. Placing another edge inset within it, as you did on the following page would have helped create a more believable sense of thickness to it.

• On that same next page, you've drawn the leaves partially, allowing them to stop where they get overlapped by another. Don't - make sure you draw each and every leaf and petal in its entirety. Again, this is similar as to why we draw through our box forms - we want to understand how each one exists in its entirety in space, to better grasp the spatial relationships between them.

• On this page, you ended up drawing them all quite small. While this didn't cause too much of a problem, it is something to be careful of - drawing smaller can limit how easily our brains can think through spatial problems, so leaning into drawing things larger, taking full advantage of the page is definitely worthwhile. Cramping drawings into small spaces can in turn make it easier to make mistakes and draw things more stiffly, while also limiting how much we engage our whole arm when drawing.

• For this potato plant demo drawing, you ended up leaving out most of the shadows cast by the leaves, but you did choose to keep the area we filled in with solid black. You should have either chosen to leave the cast shadows out altogether, or to draw all of them. The reason is that without the additional context provided by the other cast shadows, it looks here as though you've just filled the negative space between those leaves with solid black. With the other cast shadows present it becomes more understandable that the other area is filled in because no light could reach those areas of the ground. In general, just filling in negative space with black isn't something that would make much sense - so neglecting to add the context of the other cast shadows makes this drawing appear to suggest a misunderstanding of how those filled areas should be used.

Aside from that, your work here is largely well done. You do need to work on your mark making to be sure - specifically in your use of the ghosting method to allow you to execute your marks with greater confidence (you may want to read this response I gave to another student to get a better grasp on how to approach the ghosting method). Also, be sure to refresh your understanding of the specific way in which the strokes of the branch technique should overlap one another.

I am going to go ahead and mark this lesson as complete, so be sure to keep those points in mind as you move forwards.