Starting with your arrows, you've drawn them with an excellent sense of confidence and fluidity, capturing just how those arrows push through all three dimensions of space. This carries over very nicely to your leaves, where you've captured not only how the leaves sit in 3D space, but also how they move through the space they occupy. I'm pleased to see that you've tackled both examples of more complex edge detail and more complex leaf structures, though I do have a few bits of advice to offer there:

• For the complex edge detail, you've largely done a good job in adhering to the previous phase of construction quite nicely, though I do want to make it clear that successive phases of construction are not about redrawing the entirety of the object with a darker stroke. Instead, focus on just drawing the parts that have changed (as shown here and here), and do so with the same kind of line weight as before. The addition of line weight (which is focused on key, local areas to clarify specific overlaps) should be treated as a different, separate step.

• When approaching more complex leaf structures, and really construction in general, always try and keep the relationship between your phases of construction as tight as possible. In the example in the middle of your page (the same as the one shown here) bridges across some pretty significant distances. Instead, the little individual leaf-forms you'd started with should have been constructed to be bigger, allowing you to keep the "bridging" sections more minimal. Also keep in mind that this kind of approach only really works here because our leaves are already flat. This approach has a tendency to flatten things out, so doing it for anything with more volume and structure to it won't work as well.

Moving onto your branches, your work here is looking good overall, though I'm getting the impression in a few places that you're not quite starting some of your segments all the way back at the previous ellipse, instead starting somewhere in between ellipses. In your case this isn't a huge deal because your transitions from one segment to the next are quite smooth and seamless, but in general we try to maximize the overlap between them as shown in these instructions.

Continuing onto your plant constructions, your work here is by and large very well done. There are a few small hiccups that I'll point out, but all in all I'm very pleased with how you've captured the fluidity of your leaves, and the volume of your more solid forms. You've also not been afraid to draw through all of your forms, constructing everything in its entirety, clearly showing respect for these drawings each as exercises in spatial reasoning, and not trying to focus on ending up with a pretty end result. Very well done.

Here are the few minor points I wanted to share:

• When drawing cylinders, remember that as the far end gets further away from the viewer, it's going to get wider in its degree. It won't be by a huge margin, especially for small objects like these, but it should be at least a little noticeable.

• Be sure to apply the ghosting method to your lines, especially the straight ones. I noticed that in the top left drawing on this page, the lines making up your pot weren't as well drawn as they could have been.

• When drawing any kind of textural mark, always draw a filled shape rather than a line. In order to force ourselves to get in the habit of doing this, we can employ this two step process for each and every mark we draw, when defining a texture. As shown here it helps make our textural marks feel more dynamic and realistic. It's very easy to just draw individual strokes, but this tends to make us think less about our textural marks as representing cast shadows.

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