Jumping right in with your arrows, great work - you're doing a great job of prioritizing the confidence of your execution here, which really helps to push the sense of fluidity with which they move through the world. This carries over really nicely into your leaves, where you're not only capturing how they sit statically in 3D space, but also how they move through the space they occupy.

In regards to the edge detail, you're doing quite well - just one quick warning. Don't let the temptation of drawing more than one little bump get the better of you. Overall I don't think you are right now except for perhaps a couple spots (if that), but something about your linework gives me the impression that you might be close to slipping a little back on that front, so I figured I'd just provide the reminder.

Your branches are similarly well done, aside from one point - you're not extending your edge segments fully halfway to the next ellipse, as noted in the instructions. The resulting overlap of having a longer extension at the end of each segment helps us to achieve a smoother, more seamless transition from one to the next, so be sure to include it when doing this exercise or employing this technique in the future.

Moving onto your plant constructions, by and large you're doing very well here. I have a few points to call out (not all of them corrections), but as a whole you're making excellent progress, and I'm pleased with your results.

• I wanted to quickly call out that the way you added the little bulgy bits on this pitcher plant (that is, the masses you added right near the bend in the plant), is really well done. You didn't just alter the silhouette of the form, but you actually wrapped new, complete, fully enclosed forms around the existing structure, designing those forms' shapes such that they actually wrap around the structure in a believable fashion. This is something we introduce later into the course, so seeing it here is definitely nice.

• When using the technique shown in the hibiscus demo, where we draw an ellipse to define the extent to which the petals are going to reach (as you did here), be sure to actually have the flow lines for the petals extend right to the perimeter of the ellipse - then in turn, have the petals themselves end at the tip of the flow lines. This maintains a tighter relationship between the phases of construction, which is really what construction is all about. In effect, the ellipse is a decision you've made, and so you have to hold to it for all your petals, rather than just some. Of course, you could opt not to use an ellipse (if you specifically want the petals to reach to arbitrary distances), or you can use several if you've got many sets of petals reaching out to different, but specific distances - but once a decision has been made, adhere to it and avoid contradicting it in your later constructional steps.

• I did notice that when you add detail, it seems to be more in the vein of decoration - that is, you see little details in your reference image, and you transfer them directly to your drawing. This suggests that you may have forgotten what texture is about - specifically, the fact that it's about identifying specific forms that are present, and implying their presence by drawing the specific shadows they'd cast. Give these notes another read, as they should help clarify the distinction.

And that covers it! All in all, great work. I'll go ahead and mark this lesson as complete.