Starting with your arrows, you're definitely drawing them with a good sense of confidence, capturing how they move fluidly through space. This is something that carries over into your leaves as well, where you're able to capture how they not only sit statically in space, but also how they move through the space they occupy.

That said, while confidence is definitely the primary goal of our markmaking, we want to make sure that we achieve it through the use of the ghosting method, where it can be reinforced through additional control by investing enough time into the planning and preparation phases. This will help you reduce the little gaps as well as your overshoots which serve to undermine the solidity of your forms.

Additionally, you don't appear to have really completed this exercise. You instead stopped at step 2 (as per the instructions outlined here). While step 4 (additional surface detail/texture) is optional, exploring further complexity with the leaves' edge detail is not, and you definitely diminished the value of this exercise by opting not to explore it.

Continuing onto your branches, the main issue here is that you aren't extending your edge segments fully halfway to the next ellipse. As explained here, strive to have each edge go from one ellipse, past the second, and stop halfway to the third, with the next segment starting at the second ellipse and repeating the pattern. This results in a healthy overlap between the segments, allowing the next segment to use the previous one as a direct "runway", overlapping it before shooting off towards its next target, ultimately resulting in a smoother, more seamless transition from segment to segment.

I am pleased with how you're handling the ellipses - you appear to be considering how they shift in degree to represent each one's orientation in space. I do however highly recommend that you ease up on all the significant twists and bends. You'll gain more from focusing on the core principles of the exercise first and foremost with simpler branches, rather than overcomplicating it right from the get-go.

Moving onto your plant constructions, I think overall you're doing a pretty good job, with just a few issues I want to call out. You're building the structures up from simple forms, not generally skipping steps to more complex structures too soon, and you're showing a lot of care for how those individual forms relate to one another in 3D space. You're also demonstrating solid observational skills. Here are the main things I want you to keep in mind:

• The looseness is still present, to a degree, though I do think it's improving. I am especially pleased with the fact that when you do things like establish an ellipse for the bounds to which a flower's petals will extend, you draw your petals up to that ellipse's perimeter and no further, showing that you respect its purpose in the constructional process. Your linework is also showing a fair bit more care as you progress. Keep moving in that direction, stressing the importance of the ghosting method in your markmaking.

• When you add more complexity to a leaf (as you did on the far right side of this page), remember that as explained here, all we're doing is building upon the existing structure - not redrawing the leaf in its entirety and replacing the previous phase of construction. Try to avoid increasing the line weight from step to step, and instead just focus on adding each individual bump separately. As you can see here, all we're really doing is adding the parts that change.

• When adding texture - like where you add a lot of arbitrary lines to the surface of leaves, like the top left of the same page I linked in the last point - remember the principles of texture from lesson 2. Specifically, the fact that all textural marks should be drawn as individual cast shadow shapes, avoiding the temptation to just paint individual strokes one by one. One way to push yourself to do this, and to pay more attention to how each such cast shadow relates to a specific form that is casting it, is to draw it in two steps. First, outline the shape you intend to design for the cast shadow, then fill it in.

Now, all in all your work is coming along well, but I do want to address the issues with the leave sand branches, so you'll find a minimal revision assigned below.